An Appreciation for the Birds

Curated by Evelyn S.

I chose these items for this exhibit because I believe they emphasize the brilliance of nature. The artwork illustrated in the books, which were published in Milwaukee, highlights the beauty of the many birds that are native to the Midwest, particularly Wisconsin. The poems detail our connection with, and responsibility towards, the environment. These pieces allow us to appreciate our surroundings while also engaging us in the ongoing conversation about conservation.

"A title page of "Our Native Birds: Song and Beauty" with text printed in a mix of red and black serif fonts, framed by a simple red rectangular border on an off-white page."

"A color illustration, featuring seven different bird species perched on branches and near a birdhouse. Below the illustration, a numbered key provides the scientific, German, and English names for each bird." — Nehrling, Henry. *Our Native Birds of Song and Beauty,* vol. 1. Milwaukee, G. Brumder, 1893-1896.

"A book page with the title "Plea of the Birds" centered at its top. The page features a poem by H.W. Longfellow set within a thin red rectangular border."

Nehrling, Henry. Our Native Birds of Song and Beauty, vol. 1.

This publication begins with a poem by H.W. Longfellow entitled, ‘’The Plea of the Birds’. The piece emphasizes the balance between humanity and nature, and the importance of birds as messengers of environmental harmony. It reminds us of our collective responsibility to preserve the delicate balance of nature for generations to come, highlighting the interconnectedness between human actions and the health of the environment. By heeding the birds’ plea, readers are encouraged to consider the broader implications of our interactions with the natural world, urging us to act as stewards rather than conquerors of the earth. All the birds on this page are native to Wisconsin and all of them are at risk of environmental dangers created by humans.

"A title page of "Our Native Birds: Song and Beauty," volume two, with text printed in a mix of red and black serif fonts, framed by a simple red rectangular border on an off-white page."

"A color illustration showing six bird species, such as the Evening Grosbeak and Chickadee, perched on snowy evergreen and berry branches. A numbered list at the bottom provides the scientific, German, and English names for each bird featured in the illustration." — Nehrling, Henry. *Our Native Birds of Song and Beauty,* vol. 2. Milwaukee, G. Brumder, 1893-1896.

Nehrling, Henry. Our Native Birds of Song and Beauty, vol. 2.

As with the previous volume of this work, the birds depicted on this page are all native to the Wisconsin region.

"A title page with text printed in red and black Gothic and serif fonts, featuring a small black-and-white illustration of a bird perched on a branch." — Nehrling, Henry. *Die Nordamerikanische Vogelwelt.* Milwaukee, G. Brumder, 1891.

Nehrling, Henry. Die Nordamerikanische Vogelwelt.

This book, written by Henry Nehrling, was also published in Milwaukee, Wisconsin, in the German language. Henry Nehrling likely published in German to accommodate those living in Wisconsin who were passionate about birds but did not have the English vocabulary available to them. All the birds you see on this page are native to Wisconsin.

Dickinson, Emily. A bird came down the walk.

Emily Dickinson’s poem “A Bird came down the Walk” delves deeply into the theme of nature’s beauty and the interaction between humans and the natural world. The poem captures the intimate moment of the bird’s encounter with the speaker, showcasing the unpredictability and wonder of nature. This poem emphasizes the intrinsic connection between humanity and the natural environment, celebrating the awe-inspiring presence of wildlife in our daily lives.

"A poem printed in a simple black serif font, consisting of five four-line stanzas centered on a yellowed page." — Dickinson, Emily. “A bird came down the walk.” New York City, The Poets’ Guild, between 1920-1929? [Originally from *The complete poems of Emily Dickinson*, Little, Brown and Company, 1924].

"The title page of the book Collected Poems of Robert Frost, featuring a small brown woodcut illustration of a winding road. Opposite the title page is a portrait of the author visible through a protective tissue guard, with his signature printed below."

Frost, Robert. “The Oven Bird,” in Collected Poems of Robert Frost.

Robert Frost’s poem “The Oven Bird” explores the theme of human mortality through bird symbolism. The ovenbird, a small, plain-colored bird known for its distinctive nest resembling an old-fashioned oven, serves as a poignant metaphor for the passage of time and the cyclical nature of life. Birds have been potent symbols in art across cultures and history, often representing freedom, spirituality, and the human soul’s journey. From ancient Egyptian hieroglyphs to Renaissance paintings and modern literature, artists have used birds to convey complex emotions and ideas.

"A cream-colored page from a book featuring a poem printed in a simple black serif font." — Frost, Robert. “The Oven Bird” in *Collected Poems of Robert Frost.* London, Longmans, Green, and Co, 1930.

"A cream-colored book page featuring six stanzas of a poem, printed in a simple black serif font"

Shelley, Percy B. “To a Skylark,” in Poems and Lyrics

“To a Skylark” by Percy B. Shelley is a commendation to the transcendent beauty and symbolic power of birds, particularly the skylark. Shelley uses the skylark as a central motif to explore themes of inspiration, imagination, and the ineffable qualities of nature. Through rich imagery and lyrical language, Shelley portrays the skylark not merely as a creature of the natural world but as a conduit to the divine and an embodiment of unfettered joy. “To a Skylark” invites readers to contemplate the profound connection between humanity and the natural world, where birds serve as potent symbols of freedom, inspiration, and the vast possibilities of the creative spirit.