The Project Gutenberg eBook of How to tell the Birds from the Flowers, and other Wood-cuts

This eBook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook.

Title: How to tell the Birds from the Flowers, and other Wood-cuts

Author: Robert Williams Wood

Release date: August 4, 2010 [eBook #33346]

Most recently updated: January 6, 2021

Language: English

Other information and formats: www.gutenberg.org/ebooks/33346

Credits: Produced by Juliet Sutherland, David Garcia and the Online

Distributed Proofreading Team at https://www.pgdp.net

*** START OF THE PROJECT GUTENBERG EBOOK HOW TO TELL THE BIRDS FROM THE FLOWERS, AND OTHER WOOD-CUTS ***

How To Tell The Birds

From The Flowers

And Other Wood-cuts.

A Revised Manual of Flornithology for Beginners.

Verses and Illustrations

By Robert Williams Wood.

Published By Duffield and Co.

New York.

Copyright 1917.

By

Duffield and Co.

Contents.

The Burr. The Bird.

1.

The Crow. The Crocus.

2.

The Clover. The Plover.

3.

Ole Gander. Oleander.

4.

The Hen. The Lichen.

5.

The Pelican. The Panicle.

6.

The Pea. The Pewee.

7.

The Parrot. The Carrot.

8.

The Rue. The Rooster.

9.

The Hawk. The Hollyhock.

10.

The Pecan. The Toucan.

11.

The Cat-bird. The Cat-nip.

12.

The Quail. The Kale.

13.

The Auk. The Orchid.

14.

The Cow Bird. The Cowslip.

15.

The Butter-ball. The Butter-cup.

16.

The Roc. The Shamrock.

17.

A Sparrer. Asparagus.

18.

The Blue Mountain Lory.

19.

The Blue Morning Glory.

19.

The Tern. The Turnip.

20.

The Larks. The Larkspur.

22.

Cross Bill. Sweet William.

23.

The Ibis. The 'Ibiscus.

24.

The Pipe. The Snipe.

25.

The Jay. The Bay.

26.

The Gent-ian. The Lady-bird.

27.

Puffin. Nuffin.

28.

Bee. Beet. Beetle.

29.

The Bunny. The Tunny.

30.

The Puss. The Octopus.

31.

The Eel. The Eelephant.

32.

The Ant. The Pheasant.

33.

The Hare. The Harrier.

34.

The Pen-guin. The Sword-fish.

35.

The Gnu. The Newt.

36.

The Ray. The Raven.

38.

The Ape. The Grape.

40.

The Doe. The Dodo.

41.

The Pipe-fish. The Sea-gar.

42.

The Elk. The Whelk.

43.

The P-Cock. The Q-Cumber.

44.

The Sloe. The Sloth.

45.

The Cow. The Cowry.

46.

The Antelope. The Cantelope.

47.

The Pansy. The Chim-pansy.

48.

Naught. Nautilus.

49.

Intro-duc-tion.

By other Nature books I'm sure,

You've often been misled,

You've tried a wall-flower to secure.

And "picked a hen" instead:

You've wondered what the egg-plants lay,

And why the chestnut's burred,

And if the hop-vine hops away,

It's perfectly absurd.

I hence submit for your inspection,

This very new and choice collection,

Of flowers on Storks, and Phlox of birds,

With some explanatory words.

Not every one is always able

To recognize a vegetable,

For some are guided by tradition,

While others use their intuition,

And even I make no pretense

Of having more than common sense.

Indeed these strange homologies

Are in most flornithologies,

And I have freely drawn upon

The works of Gray and Audubon,

Avoiding though the frequent blunders

Of those who study Nature's wonders.

Burr. Bird.

Who is there who has never heard,

About the Burdock and the Bird?

And yet how very very few,

Discriminate between the two,

While even Mr. Burbank can't,

Transform a Bird into a Plant.

The Crow. The Crocus.

Some are unable, as you know,

To tell the Crocus from the Crow;

The reason why is just be-caws

They are not versed in Nature's laws.

The noisy cawing Crows all come,

Obedient to the Cro'custom,

A large Crow Caw-cus to convoke.

You never hear the Crocus croak!

The Clover. The Plover.

The Plover and the Clover can be told apart with ease,

By paying close attention to the habits of the Bees,

For En-to-molo-gists aver, the Bee can be in Clover,

While Ety-molo-gists concur, there is no B in Plover.

The Ole Gander. The Oleander.

The Gander loves to promenade,

Around the farmer's poultry yard,

While as we see, the Oleander

Is quite unable to meander:

The Gardener tied it up indeed,

Fearing that it might run to seed.

The Hen. The Lichen.

Lichens, regardless of conventions,

Exist in only two dimensions,

A life restricted to a plane,

On rocks and stones a greenish stain,

They live upon the simplest fare,

A drop of dew, a breath of air.

Contrast them with the greedy Hen,

And her most careless regimen,

She shuns the barren stones and rocks,

And thrives upon the garbage box.

The Pelican. The Panicle.

The Panicle and Pelican have often been confused,

The letters which spell Pelican, in Panicle are used.

If you recognize this Anagram you'll never go astray,

Or make the careless blunder that was made by Mr. Gray.

The Pea. The Pewee.

To tell the Pewee from the Pea,

Requires great per-spi-ca-city.

Here in the pod we see the Pea,

While perched close by is the Pewee;

The Pea he hears the Pewee peep,

While Pewee sees the wee Pea weep,

There'll be but little time to see,

How Pewee differs from the Pea.

The Parrot. The Carrot.

The Parrot and the Carrot one may easily confound,

They're very much alike in looks and similar in sound,

We recognize the Parrot by his clear articulation,

For Carrots are unable to engage in conversation.

The Rue. The Rooster.

When you awake at half-past-two,

And hear a "Cock-a-doodle-doo,"

No argument need then ensue,

It is the Rooster, not the Rue,

Which never thus disturbs our dreams,

With ruthless rude nocturnal screams.

We sleep less soundly than we used ter

And love the Rue but rue the Rooster.

The Hawk. The Hollyhock.

To recognize this bird-of-prey,

The broody hen you should survey:

She takes her chicks on daily walks,

Among the neighboring Hollyhocks,

While with the Hawk association,

Is quite beyond her toleration.

The Pecan. The Toucan.

Very few can

Tell the Toucan

From the Pecan—

Here's a new plan:

To take the Toucan from the tree,

Requires im-mense a-gil-i-tee,

While anyone can pick with ease

The Pecans from the Pecan trees.

It's such an easy thing to do,

That even the Toucan he can too.

The Cat-bird. The Cat-nip.

The Cat-bird's call resembles that

Emitted by the Pussy Cat,

While Cat-nip growing by the wall,

Is never known to caterwaul:

It's odor though attracts the Kits,

And throws them in Cat-nip-tion fits.

The Quail. The Kale.

The California Quail is said

To have a tail upon his head,

While contrary-wise we style the Kale,

A cabbage-head upon a tail.

It is not hard to tell the two,

The Quail commences with a queue.

The Auk. The Orchid.

We seldom meet, when out to walk,

Either the Orchid or the Auk.

The awk-ward Auk is only known

To dwellers in the Auk-tic zone,

While Orchids can be found in legions,

Within the equatorial regions.

So if by chance you travel on

The Lena or the Am-a-zon,

Be certain of the tem-pera-ture

Or you will make mistakes I'm sure.

The Cow Bird. The Cowslip.

Although the Cow'slips on this plant,

Suggest perhaps a ru-min-ant,

One never sees the opening bud,

Devour the grass or chew its cud.

The Cowbird picture, I suspect,

Is absolutely incorrect;

We make such errors now and then,

A sort of cow slip of the pen.

The Butter-ball. The Butter-cup.

The little Butter-cup can sing,

From morn 'till night like anything.

The quacking of the Butter-ball,

Cannot be called a song at all.

We thus the flower may learn to know,

Its song is reproduced below.

[Hear this melody as midi.]

The Roc. The Shamrock.

Although I never took much stock,

In Sinbad's yarn about the Roc,

And really must confess I am

Inclined to think the Roc a sham:

Take notice that, the Sham-rock may

Be seen upon St. Patrick's day.

A Sparrer. Asparagus.

Of the fall of the Sparrow we often have heard,

And I've here represented the fall of the bird:

In the case of Asparagus though, I may mention,

A fall such as this, is quite out of the question:

For observe that Asparagus, fat and well fed,

Spends all of his time in the 'sparagus bed.

The Blue Mountain Lory. The Blue Morning Glory.

The Insects, to avoid surprise

By Birds, sometimes themselves disguise

As leaves and twigs, and thus escape

The appetizing Insect's fate.

Observe how cleverly this Vine

Has forced its leaves and flowers to twine

Themselves into a Bird design.

And how it's artful turns and twists,

Hides it from zealous Botanists.

The Tern. The Turnip.

To tell the Turnip from the Tern,

A thing which everyone should learn,

Observe the Tern up in the air,

See how he turns, and now compare

Him with this in-ert veg-et-able,

Who thus to turn is quite unable,

For he is rooted to the spot,

While as we see, the Tern is not:

He is not always doomed to be

Thus bound to earth e-tern-ally

For "cooked to a tern" may be inferred,

To change the Turnip to a bird.

Observe the Turnip in the Pot.

The Tern is glad that he is not!

The Larks. The Larkspur.

You must not make ad-verse remarks,

About my drawing of the Larks.

For, by the minor poet's lore

The Larks—per-pet-ually soar.

While Larkspurs, bordering garden walks,

Are perched securely on their stalks.

Cross Bill. Sweet William.

Nobody but an imbecile

Mistakes Sweet William for Cross Bill:

And even I can scarcely claim,

The skill to make them look the same.

Some other shrubs and vines and trees,

Express emotion much like these,

You've seen the mad-wort plant I guess,

And weeping willows and sigh-press,

The passion-flower, at it's climax,

The glad-iolus and the smile-ax.

The Ibis. The 'Ibiscus.

The sacred Ibis, one might say,

Was classified a "Bird-of-Pray"

His body, after death, was dried,

Embalmed in pitch, and mummyfied,

And thus was handed down to us

In some old King's sarcophagus.

The Mallow, growing in the bogs,

('Ibiscus termed by pedagogues)

Is much opposed to dessication,

And bears no marks of veneration.

The Pipe. The Snipe.

Observe the hybrid Indian Pipe,

Likewise the high-bred English Snipe,

Who is distinguished, as we see,

By his superior pedigree.

The Jay. The Bay.

The Blue Jay, as we clearly see,

Is so much like the green Bay tree

That one might say the only clue,

Lies in their dif-fer-ence of hue,

And if you have a color sense,

You'll see at once this difference.

The Gent-ians. The Lady-bird.

The reason why this beetle gay,

Is called the Lady-bird, they say,

Is just because he wastes his hours,

In running after pretty flowers,

Who, quite regardless of conventions,

Most openly invite attentions.

(And hence are aptly termed the Gent-ians.)

Puffin. Nuffin.

Upon this cake of ice is perched,

The paddle-footed Puffin:

To find his double I have searched,

But have discovered—Nuffin'.

The Bee. The Beet. The Beetle.

Good Mr. Darwin once contended

That Beetles were from Bees descended,

And as my pictures show I think

The Beet must be the missing link.

The sugar-beet and honey-bee

Supply the Beetle's pedigree:

The family is now complete,—

The Bee, the Beetle and the Beet.

The Bunny. The Tunny.

The superficial naturalists have often been misled,

By failing to discriminate between the tail and head:

It really is unfortunate such carelessness prevails,

Because the Bunnies have their heads where Tunnies have their tails.

The Puss. The Octo-pus.

The Octopus or Cuttle-fish!

I'm sure that none of us would wish

To have him scuttle 'round the house,

Like Puss, when she espies a mouse:

When you secure your house-hold pet,

Be very sure you do not get

The Octopus, or there may be

Domestic in-felis-ity.

The Eel. The Eelephant.

The marked aversion which we feel,

When in the presence of the Eel,

Makes many view with consternation,

The Elephant's front ele-vation.

Such folly must be clearly due

To their peculiar point of view.

The Ant. The Pheas-ant.

The ant is known by his ant-ennae,

Where-as the pheas-ant has'nt any,

And that is why he wears instead,

A small red cap upon his head:

Without his Fez, indeed the pheasant,

Would be quite bald and quite un-pleasant.

The Hare. The Harrier.

The Harrier, harassed by the Hare,

Presents a picture of despair;

Although as far as I'm concerned,

I love to see the tables turned.

The Harrier flies with all his might,

It is a harum-scare'm flight:

I'm not surprised he does not care

To meet the fierce pursuing Hare.

The Pen-guin. The Sword-fish.

We have for many years been bored

By that old saw about the sword

And pen, and now we all rejoice,

To see how Nature made her choice:

She made, regardless of offendin',

The Sword-fish mightier than the Penguin.

The Gnu. The Newt.

The Gnu conspicuously wears

His coat of gnumerous bristling hairs,

While, as we see, the modest Newt

Of such a coat is destitute.

(I'm only telling this to you,

And it is strictly "entre gnu")

In point of fact the Newt is nude,

And therefore he does not obtrude,

But hides in some secluded gnook,

Beneath the surface of the brook.

It's almost more than he can bear,

To issue slyly from his lair,

And snatch a hasty breath of air,

His need of which is absolute,

Because, you see, he is a pneu-t. *

* (return)

This word, of air is emblematic,

Greek, "pneumos"—air—compare Pneumatic.

The Ray. The Raven.

I always sing the hymn of hate,

When I perceive the Ray (or skate)

His ugly mouth I can't abide,

His eyes are on the other side,

His features are all out of place

He hasn't even any face.

I do not mind the Raven, though

Maligned by Edgar Allan Poe:

By his fun-er-ial array

We recognize him from the Ray,

Whose epiderm is white as snow,

Not black as night, like Mr Crow.

Though black, morose, and quite unshaven

I'm sure we all prefer the Raven.

The Ape. The Grape.

The Apes, from whom we are descended,

Hang ape-x down from trees suspended,

And since we find them in the trees,

We term them arbor-ig-i-nes.

This quite explains the monkey-shines

Cut up by those who pluck from vines

The Grape, and then subject its juices,

To Bacchanalian abuses.

The Doe. The Dodo.

The Doe and her phonetic double,

No longer are a source of trouble,

Because the Dodo, it appears,

Has been extinct for many years:

She was too haughty to embark,

With total strangers in Noah's ark,

And we rejoice because her pride,

Our nature book has simplified.

The Pipe-fish. The Sea-gar.

To smoke a herring is to make

A most lam-en-table mistake,

Particularly since there are

The pipe-fish and the long Sea-gar.

Bear this in mind when next you wish

To smoke your after-dinner fish.

The Elk. The Whelk.

A roar of welkome through the welkin

Is certain proof you'll find the Elk in;

But if you listen to the shell,

In which the Whelk is said to dwell,

And hear a roar, beyond a doubt

It indicates the Whelk is out.

The P-Cock. The Q-Cumber.

The striking similarity of this P-Q-liar pair,

No longer need en-cumber us, or fill us with despair:

The P-Cock and the Q-Cumber you never need confuse,

If you pay attention to the Eyes and mind your P's and Q's.

The Sloe. The Sloth.

See what a fix the Sloth is in,

He has been captured by the gin:

This gin is not the same gin though,

In which we sometimes find the Sloe.

This shows how careful one must be,

To treat the gin most gingerly.

The Cow. The Cowry.

The Cowry seems to be, somehow,

A sort of mouth-piece for the Cow:

A speaking likeness one might say,

Which I've endeavored to portray.

The Antelope. The Cantelope.

If you will tap the Cantelope reposing on the ground

It will not move, but just emit a melon-choly sound

But if you try this method on the antlered antelope,

His departure will convince you that he is a mis-an-thrope.

The Pansy. The Chim-pansy.

Observe how Nature's necromancies

Have clearly painted on the Pansies,

These almost human counten-ances,

In yellow, blue and black nu-ances.

The face however seems to me

To be that of the Chim-pan-zee:

A fact that makes the gentle Pansy,

Appeal no longer to my fancy.

Naught. Nautilus.

The Argo-naut or Nautilus,

With habits quite adventurous,

A com-bin-a-tion of a snail,

A jelly-fish and paper sail.

The parts of him that did not jell,

Are packed securely in his shell.

It is not strange that when I sought

To find his double, I found Naught.

*** END OF THE PROJECT GUTENBERG EBOOK HOW TO TELL THE BIRDS FROM THE FLOWERS, AND OTHER WOOD-CUTS ***

Updated editions will replace the previous one—the old editions will be renamed.

Creating the works from print editions not protected by U.S. copyright law means that no one owns a United States copyright in these works, so the Foundation (and you!) can copy and distribute it in the United States without permission and without paying copyright royalties. Special rules, set forth in the General Terms of Use part of this license, apply to copying and distributing Project Gutenberg™ electronic works to protect the PROJECT GUTENBERG™ concept and trademark. Project Gutenberg is a registered trademark, and may not be used if you charge for an eBook, except by following the terms of the trademark license, including paying royalties for use of the Project Gutenberg trademark. If you do not charge anything for copies of this eBook, complying with the trademark license is very easy. You may use this eBook for nearly any purpose such as creation of derivative works, reports, performances and research. Project Gutenberg eBooks may be modified and printed and given away—you may do practically ANYTHING in the United States with eBooks not protected by U.S. copyright law. Redistribution is subject to the trademark license, especially commercial redistribution.

START: FULL LICENSE

THE FULL PROJECT GUTENBERG™ LICENSE

PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK

To protect the Project Gutenberg™ mission of promoting the free distribution of electronic works, by using or distributing this work (or any other work associated in any way with the phrase “Project Gutenberg”), you agree to comply with all the terms of the Full Project Gutenberg License available with this file or online at www.gutenberg.org/license.

Section 1. General Terms of Use and Redistributing Project Gutenberg electronic works

1.A. By reading or using any part of this Project Gutenberg electronic work, you indicate that you have read, understand, agree to and accept all the terms of this license and intellectual property (trademark/copyright) agreement. If you do not agree to abide by all the terms of this agreement, you must cease using and return or destroy all copies of Project Gutenberg electronic works in your possession. If you paid a fee for obtaining a copy of or access to a Project Gutenberg electronic work and you do not agree to be bound by the terms of this agreement, you may obtain a refund from the person or entity to whom you paid the fee as set forth in paragraph 1.E.8.

1.B. “Project Gutenberg” is a registered trademark. It may only be used on or associated in any way with an electronic work by people who agree to be bound by the terms of this agreement. There are a few things that you can do with most Project Gutenberg electronic works even without complying with the full terms of this agreement. See paragraph 1.C below. There are a lot of things you can do with Project Gutenberg electronic works if you follow the terms of this agreement and help preserve free future access to Project Gutenberg electronic works. See paragraph 1.E below.

1.C. The Project Gutenberg Literary Archive Foundation (“the Foundation” or PGLAF), owns a compilation copyright in the collection of Project Gutenberg electronic works. Nearly all the individual works in the collection are in the public domain in the United States. If an individual work is unprotected by copyright law in the United States and you are located in the United States, we do not claim a right to prevent you from copying, distributing, performing, displaying or creating derivative works based on the work as long as all references to Project Gutenberg are removed. Of course, we hope that you will support the Project Gutenberg mission of promoting free access to electronic works by freely sharing Project Gutenberg works in compliance with the terms of this agreement for keeping the Project Gutenberg name associated with the work. You can easily comply with the terms of this agreement by keeping this work in the same format with its attached full Project Gutenberg License when you share it without charge with others.

1.D. The copyright laws of the place where you are located also govern what you can do with this work. Copyright laws in most countries are in a constant state of change. If you are outside the United States, check the laws of your country in addition to the terms of this agreement before downloading, copying, displaying, performing, distributing or creating derivative works based on this work or any other Project Gutenberg work. The Foundation makes no representations concerning the copyright status of any work in any country other than the United States.

1.E. Unless you have removed all references to Project Gutenberg:

1.E.1. The following sentence, with active links to, or other immediate access to, the full Project Gutenberg License must appear prominently whenever any copy of a Project Gutenberg work (any work on which the phrase “Project Gutenberg” appears, or with which the phrase “Project Gutenberg” is associated) is accessed, displayed, performed, viewed, copied or distributed:

This eBook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg™ License included with this eBook or online at www.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook.

1.E.2. If an individual Project Gutenberg electronic work is derived from texts not protected by U.S. copyright law (does not contain a notice indicating that it is posted with permission of the copyright holder), the work can be copied and distributed to anyone in the United States without paying any fees or charges. If you are redistributing or providing access to a work with the phrase “Project Gutenberg” associated with or appearing on the work, you must comply either with the requirements of paragraphs 1.E.1 through 1.E.7 or obtain permission for the use of the work and the Project Gutenberg trademark as set forth in paragraphs 1.E.8 or 1.E.9.

1.E.3. If an individual Project Gutenberg electronic work is posted with the permission of the copyright holder, your use and distribution must comply with both paragraphs 1.E.1 through 1.E.7 and any additional terms imposed by the copyright holder. Additional terms will be linked to the Project Gutenberg License for all works posted with the permission of the copyright holder found at the beginning of this work.

1.E.4. Do not unlink or detach or remove the full Project Gutenberg License terms from this work, or any files containing a part of this work or any other work associated with Project Gutenberg.

1.E.5. Do not copy, display, perform, distribute or redistribute this electronic work, or any part of this electronic work, without prominently displaying the sentence set forth in paragraph 1.E.1 with active links or immediate access to the full terms of the Project Gutenberg License.

1.E.6. You may convert to and distribute this work in any binary, compressed, marked up, nonproprietary or proprietary form, including any word processing or hypertext form. However, if you provide access to or distribute copies of a Project Gutenberg work in a format other than “Plain Vanilla ASCII” or other format used in the official version posted on the official Project Gutenberg website (www.gutenberg.org), you must, at no additional cost, fee or expense to the user, provide a copy, a means of exporting a copy, or a means of obtaining a copy upon request, of the work in its original “Plain Vanilla ASCII” or other form. Any alternate format must include the full Project Gutenberg License as specified in paragraph 1.E.1.

1.E.7. Do not charge a fee for access to, viewing, displaying, performing, copying or distributing any Project Gutenberg works unless you comply with paragraph 1.E.8 or 1.E.9.

1.E.8. You may charge a reasonable fee for copies of or providing access to or distributing Project Gutenberg electronic works provided that:

- • You pay a royalty fee of 20% of the gross profits you derive from the use of Project Gutenberg works calculated using the method you already use to calculate your applicable taxes. The fee is owed to the owner of the Project Gutenberg trademark, but he has agreed to donate royalties under this paragraph to the Project Gutenberg Literary Archive Foundation. Royalty payments must be paid within 60 days following each date on which you prepare (or are legally required to prepare) your periodic tax returns. Royalty payments should be clearly marked as such and sent to the Project Gutenberg Literary Archive Foundation at the address specified in Section 4, “Information about donations to the Project Gutenberg Literary Archive Foundation.”

- • You provide a full refund of any money paid by a user who notifies you in writing (or by e-mail) within 30 days of receipt that s/he does not agree to the terms of the full Project Gutenberg™ License. You must require such a user to return or destroy all copies of the works possessed in a physical medium and discontinue all use of and all access to other copies of Project Gutenberg™ works.

- • You provide, in accordance with paragraph 1.F.3, a full refund of any money paid for a work or a replacement copy, if a defect in the electronic work is discovered and reported to you within 90 days of receipt of the work.

- • You comply with all other terms of this agreement for free distribution of Project Gutenberg™ works.

1.E.9. If you wish to charge a fee or distribute a Project Gutenberg™ electronic work or group of works on different terms than are set forth in this agreement, you must obtain permission in writing from the Project Gutenberg Literary Archive Foundation, the manager of the Project Gutenberg™ trademark. Contact the Foundation as set forth in Section 3 below.

1.F.

1.F.1. Project Gutenberg volunteers and employees expend considerable effort to identify, do copyright research on, transcribe and proofread works not protected by U.S. copyright law in creating the Project Gutenberg™ collection. Despite these efforts, Project Gutenberg™ electronic works, and the medium on which they may be stored, may contain “Defects,” such as, but not limited to, incomplete, inaccurate or corrupt data, transcription errors, a copyright or other intellectual property infringement, a defective or damaged disk or other medium, a computer virus, or computer codes that damage or cannot be read by your equipment.

1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the “Right of Replacement or Refund” described in paragraph 1.F.3, the Project Gutenberg Literary Archive Foundation, the owner of the Project Gutenberg™ trademark, and any other party distributing a Project Gutenberg™ electronic work under this agreement, disclaim all liability to you for damages, costs and expenses, including legal fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH DAMAGE.

1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a defect in this electronic work within 90 days of receiving it, you can receive a refund of the money (if any) you paid for it by sending a written explanation to the person you received the work from. If you received the work on a physical medium, you must return the medium with your written explanation. The person or entity that provided you with the defective work may elect to provide a replacement copy in lieu of a refund. If you received the work electronically, the person or entity providing it to you may choose to give you a second opportunity to receive the work electronically in lieu of a refund. If the second copy is also defective, you may demand a refund in writing without further opportunities to fix the problem.

1.F.4. Except for the limited right of replacement or refund set forth in paragraph 1.F.3, this work is provided to you ‘AS-IS’, WITH NO OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE.

1.F.5. Some states do not allow disclaimers of certain implied warranties or the exclusion or limitation of certain types of damages. If any disclaimer or limitation set forth in this agreement violates the law of the state applicable to this agreement, the agreement shall be interpreted to make the maximum disclaimer or limitation permitted by the applicable state law. The invalidity or unenforceability of any provision of this agreement shall not void the remaining provisions.

1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the trademark owner, any agent or employee of the Foundation, anyone providing copies of Project Gutenberg™ electronic works in accordance with this agreement, and any volunteers associated with the production, promotion and distribution of Project Gutenberg™ electronic works, harmless from all liability, costs and expenses, including legal fees, that arise directly or indirectly from any of the following which you do or cause to occur: (a) distribution of this or any Project Gutenberg work, (b) alteration, modification, or additions or deletions to any Project Gutenberg work, and (c) any Defect you cause.

Section 2. Information about the Mission of Project Gutenberg

Project Gutenberg is synonymous with the free distribution of electronic works in formats readable by the widest variety of computers including obsolete, old, middle-aged and new computers. It exists because of the efforts of hundreds of volunteers and donations from people in all walks of life.

Volunteers and financial support to provide volunteers with the assistance they need are critical to reaching Project Gutenberg’s goals and ensuring that the Project Gutenberg collection will remain freely available for generations to come. In 2001, the Project Gutenberg Literary Archive Foundation was created to provide a secure and permanent future for Project Gutenberg and future generations. To learn more about the Project Gutenberg Literary Archive Foundation and how your efforts and donations can help, see Sections 3 and 4 and the Foundation information page at www.gutenberg.org.

Section 3. Information about the Project Gutenberg Literary Archive Foundation

The Project Gutenberg Literary Archive Foundation is a non-profit 501(c)(3) educational corporation organized under the laws of the state of Mississippi and granted tax exempt status by the Internal Revenue Service. The Foundation’s EIN or federal tax identification number is 64-6221541. Contributions to the Project Gutenberg Literary Archive Foundation are tax deductible to the full extent permitted by U.S. federal laws and your state’s laws.

The Foundation’s business office is located at 41 Watchung Plaza #516, Montclair NJ 07042, USA, +1 (862) 621-9288. Email contact links and up to date contact information can be found at the Foundation’s website and official page at www.gutenberg.org/contact

Section 4. Information about Donations to the Project Gutenberg Literary Archive Foundation

Project Gutenberg™ depends upon and cannot survive without widespread public support and donations to carry out its mission of increasing the number of public domain and licensed works that can be freely distributed in machine-readable form accessible by the widest array of equipment including outdated equipment. Many small donations ($1 to $5,000) are particularly important to maintaining tax exempt status with the IRS.

The Foundation is committed to complying with the laws regulating charities and charitable donations in all 50 states of the United States. Compliance requirements are not uniform and it takes a considerable effort, much paperwork and many fees to meet and keep up with these requirements. We do not solicit donations in locations where we have not received written confirmation of compliance. To SEND DONATIONS or determine the status of compliance for any particular state visit www.gutenberg.org/donate.

While we cannot and do not solicit contributions from states where we have not met the solicitation requirements, we know of no prohibition against accepting unsolicited donations from donors in such states who approach us with offers to donate.

International donations are gratefully accepted, but we cannot make any statements concerning tax treatment of donations received from outside the United States. U.S. laws alone swamp our small staff.

Please check the Project Gutenberg web pages for current donation methods and addresses. Donations are accepted in a number of other ways including checks, online payments and credit card donations. To donate, please visit: www.gutenberg.org/donate.

Section 5. General Information About Project Gutenberg electronic works

Professor Michael S. Hart was the originator of the Project Gutenberg concept of a library of electronic works that could be freely shared with anyone. For forty years, he produced and distributed Project Gutenberg eBooks with only a loose network of volunteer support.

Project Gutenberg eBooks are often created from several printed editions, all of which are confirmed as not protected by copyright in the U.S. unless a copyright notice is included. Thus, we do not necessarily keep eBooks in compliance with any particular paper edition.

Most people start at our website which has the main PG search facility: www.gutenberg.org.

This website includes information about Project Gutenberg, including how to make donations to the Project Gutenberg Literary Archive Foundation, how to help produce our new eBooks, and how to subscribe to our email newsletter to hear about new eBooks.

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

Table of Contents

How To Tell The Birds From The Flowers And Other Wood-cuts.

A Revised Manual of Flornithology for Beginners.

Verses and Illustrations By Robert Williams Wood.

Contents.

Intro-duc-tion.

Burr. Bird.

The Crow. The Crocus.

The Clover. The Plover.

The Ole Gander. The Oleander.

The Hen. The Lichen.

The Pelican. The Panicle.

The Pea. The Pewee.

The Parrot. The Carrot.

The Rue. The Rooster.

The Hawk. The Hollyhock.

The Pecan. The Toucan.

The Cat-bird. The Cat-nip.

The Quail. The Kale.

The Auk. The Orchid.

The Cow Bird. The Cowslip.

The Butter-ball. The Butter-cup.

The Roc. The Shamrock.

A Sparrer. Asparagus.

The Blue Mountain Lory. The Blue Morning Glory.

The Tern. The Turnip.

The Larks. The Larkspur.

Cross Bill. Sweet William.

The Ibis. The 'Ibiscus.

The Pipe. The Snipe.

The Jay. The Bay.

The Gent-ians. The Lady-bird.

Puffin. Nuffin.

The Bee. The Beet. The Beetle.

The Bunny. The Tunny.

The Puss. The Octo-pus.

The Eel. The Eelephant.

The Ant. The Pheas-ant.

The Hare. The Harrier.

The Pen-guin. The Sword-fish.

The Gnu. The Newt.

The Ray. The Raven.

The Ape. The Grape.

The Doe. The Dodo.

The Pipe-fish. The Sea-gar.

The Elk. The Whelk.

The P-Cock. The Q-Cumber.

The Sloe. The Sloth.

The Cow. The Cowry.

The Antelope. The Cantelope.

The Pansy. The Chim-pansy.

Naught. Nautilus.

THE FULL PROJECT GUTENBERG™ LICENSE