and above which, dominating it as an organ does lesser instruments—or like "that deep and dreadful organ-pipe, the thunder"—there rolls, at intervals, one of the most extraordinary voices, surely, that ever issued from the throat of a bird: a rolling, rumbling volume of sound, so rough and deep, yet so full, grand, and sonorous, that it seems as though the very cliffs were speaking—ending sometimes in something like a gruff laugh, or, as some will have it, a bark.
This marvellous note is the nuptial one of the guillemot, or, rather, it is that, swelled and multiplied by the echoes to which it gives rise, and which roll and mutter along the face of the precipice, and mingle with the dash of the waves. The effect is most striking when heard at a little distance, and especially across the chasm that divides one precipice from another. Under these circumstances it is less the actual cry itself than what, by such help, it becomes, that impresses one. Uttered quite near, by some bird that stands conspicuous on the ledge one looks down upon, the sound is less impressive, though still extraordinary enough. It can then be better understood, and resolves itself into a sort of jodel, long continued and having a vibratory roll in it. It begins usually with one or two shorter notes, which have much the syllabic value of "hǎrāh, hǎrāh"—first ǎ as in "hat," with the accent on the last syllable, as in "hurrah." Very commonly the outcry ends here, but otherwise the final "rah" is prolonged into the sound I speak
