Visit ebookfinal.

com to download the full version and

explore more ebooks or textbooks

Digital Signal Processing System Analysis and

Design 2nd Edition Paulo S. R. Diniz

_____ Click the link below to download _____

https://ebookfinal.com/download/digital-signal-processing-
system-analysis-and-design-2nd-edition-paulo-s-r-diniz/

Explore and download more ebooks or textbook at ebookfinal.com

Here are some recommended products that we believe you will be
interested in. You can click the link to download.

Digital Signal Processing 3rd Edition S. Salivahanan

https://ebookfinal.com/download/digital-signal-processing-3rd-edition-
s-salivahanan/

Notes on Digital Signal Processing Practical Recipes for

Design Analysis and Implementation 1st Edition C. Britton
Rorabaugh
https://ebookfinal.com/download/notes-on-digital-signal-processing-
practical-recipes-for-design-analysis-and-implementation-1st-edition-
c-britton-rorabaugh/

Understanding Digital Signal Processing 2nd Edition

Prentice Hall Ptr

https://ebookfinal.com/download/understanding-digital-signal-
processing-2nd-edition-prentice-hall-ptr/

Digital Signal Processing International Edition Proakis

https://ebookfinal.com/download/digital-signal-processing-
international-edition-proakis/
Digital Signal Processing using MATLAB 2nd Edition Vinay
K. Ingle

https://ebookfinal.com/download/digital-signal-processing-using-
matlab-2nd-edition-vinay-k-ingle/

Digital Signal Processing and Applications Second Edition

Dag Stranneby

https://ebookfinal.com/download/digital-signal-processing-and-
applications-second-edition-dag-stranneby/

Real Time Digital Signal Processing Implementation and

Application 2nd Edition Sen M. Kuo

https://ebookfinal.com/download/real-time-digital-signal-processing-
implementation-and-application-2nd-edition-sen-m-kuo/

Digital Signal Processing DSP and Applications 1st Edition

Dag Stranneby

https://ebookfinal.com/download/digital-signal-processing-dsp-and-
applications-1st-edition-dag-stranneby/

Analysis and Design of Quadrature Oscillators Analog

Circuits and Signal Processing 1st Edition Luis B.
Oliveira
https://ebookfinal.com/download/analysis-and-design-of-quadrature-
oscillators-analog-circuits-and-signal-processing-1st-edition-luis-b-
oliveira/
Digital Signal Processing System Analysis and Design 2nd
Edition Paulo S. R. Diniz Digital Instant Download
Author(s): Paulo S. R. Diniz, Eduardo A. B. da Silva, Sergio L. Netto
ISBN(s): 9780521887755, 0521887755
Edition: 2
File Details: PDF, 6.23 MB
Year: 2010
Language: english
This page intentionally left blank
 Digital Signal Processing

This new, fully revised edition covers all the major topics of digital signal processing (DSP)
design and analysis in a single, all-inclusive volume, interweaving theory with real-world
examples and design trade-offs.
Building on the success of the original, this edition includes new material on random
signal processing, a new chapter on spectral estimation, greatly expanded coverage of
filter banks and wavelets, and new material on the solution of difference equations. Addi-
tional steps in mathematical derivations make them easier to follow, and an important new
feature is the Do-it-Yourself section at the end of each chapter, where readers get hands-
on experience of solving practical signal processing problems in a range of Matlab®
experiments.
With 120 worked examples, 20 case studies, and almost 400 homework exercises, the
book is essential reading for anyone taking digital signal processing courses. Its unique
blend of theory and real-world practical examples also makes it an ideal reference for
practitioners.

Paulo S. R. Diniz is a Professor in the Department of Electronics and Computer Engineering

at Poli/Federal University of Rio de Janeiro (UFRJ), and the Graduate Program of Electrical
Engineering at COPPE/UFRJ. He is also a Fellow of the IEEE.

Eduardo A. B. da Silva is an Associate Professor in the Department of Electronics and

Computer Engineering at Poli/UFRJ, and in the Graduate Program of Electrical Engineering
at COPPE/UFRJ.

Sergio L. Netto is an Associate Professor in the Department of Electronics and Computer

Engineering at Poli/UFRJ, and in the Graduate Program of Electrical Engineering at
COPPE/UFRJ.
Digital Signal Processing
System Analysis and Design
Second Edition

Paulo S. R. Diniz
Eduardo A. B. da Silva
and
Sergio L. Netto
Federal University of Rio de Janeiro
CAMBRIDGE UNIVERSITY PRESS
Cambridge, New York, Melbourne, Madrid, Cape Town, Singapore,
São Paulo, Delhi, Dubai, Tokyo

Cambridge University Press

The Edinburgh Building, Cambridge CB2 8RU, UK

Published in the United States of America by Cambridge University Press, New York

www.cambridge.org
Information on this title: www.cambridge.org/9780521887755
© Cambridge University Press 2002, 2010

This publication is in copyright. Subject to statutory exception and to the

provision of relevant collective licensing agreements, no reproduction of any part
may take place without the written permission of Cambridge University Press.
First published in print format 2010

ISBN-13 978-0-511-78983-0 eBook (NetLibrary)

ISBN-13 978-0-521-88775-5 Hardback

Cambridge University Press has no responsibility for the persistence or accuracy

of urls for external or third-party internet websites referred to in this publication,
and does not guarantee that any content on such websites is, or will remain,
accurate or appropriate.
 To our families,
our parents,
and our students.
 Contents

Preface page xvi

Introduction 1

1 Discrete-time signals and systems 5

1.1 Introduction 5
1.2 Discrete-time signals 6
1.3 Discrete-time systems 10
1.3.1 Linearity 10
1.3.2 Time invariance 11
1.3.3 Causality 11
1.3.4 Impulse response and convolution sums 14
1.3.5 Stability 16
1.4 Difference equations and time-domain response 17
1.4.1 Recursive × nonrecursive systems 21
1.5 Solving difference equations 22
1.5.1 Computing impulse responses 31
1.6 Sampling of continuous-time signals 33
1.6.1 Basic principles 34
1.6.2 Sampling theorem 34
1.7 Random signals 53
1.7.1 Random variable 54
1.7.2 Random processes 58
1.7.3 Filtering a random signal 60
1.8 Do-it-yourself: discrete-time signals and systems 62
1.9 Discrete-time signals and systems with Matlab 67
1.10 Summary 68
1.11 Exercises 68

2 The z and Fourier transforms 75

2.1 Introduction 75
2.2 Definition of the z transform 76
2.3 Inverse z transform 83
2.3.1 Computation based on residue theorem 84
2.3.2 Computation based on partial-fraction expansions 87
2.3.3 Computation based on polynomial division 90
viii Contents

2.3.4 Computation based on series expansion 92

2.4 Properties of the z transform 94
2.4.1 Linearity 94
2.4.2 Time reversal 94
2.4.3 Time-shift theorem 95
2.4.4 Multiplication by an exponential 95
2.4.5 Complex differentiation 95
2.4.6 Complex conjugation 96
2.4.7 Real and imaginary sequences 97
2.4.8 Initial-value theorem 97
2.4.9 Convolution theorem 98
2.4.10 Product of two sequences 98
2.4.11 Parseval’s theorem 100
2.4.12 Table of basic z transforms 101
2.5 Transfer functions 104
2.6 Stability in the z domain 106
2.7 Frequency response 109
2.8 Fourier transform 115
2.9 Properties of the Fourier transform 120
2.9.1 Linearity 120
2.9.2 Time reversal 120
2.9.3 Time-shift theorem 120
2.9.4 Multiplication by a complex exponential (frequency shift,
modulation) 120
2.9.5 Complex differentiation 120
2.9.6 Complex conjugation 121
2.9.7 Real and imaginary sequences 121
2.9.8 Symmetric and antisymmetric sequences 122
2.9.9 Convolution theorem 123
2.9.10 Product of two sequences 123
2.9.11 Parseval’s theorem 123
2.10 Fourier transform for periodic sequences 123
2.11 Random signals in the transform domain 125
2.11.1 Power spectral density 125
2.11.2 White noise 128
2.12 Do-it-yourself: the z and Fourier transforms 129
2.13 The z and Fourier transforms with Matlab 135
2.14 Summary 137
2.15 Exercises 137

3 Discrete transforms 143

3.1 Introduction 143
3.2 Discrete Fourier transform 144
3.3 Properties of the DFT 153
ix Contents

3.3.1 Linearity 153

3.3.2 Time reversal 153
3.3.3 Time-shift theorem 153
3.3.4 Circular frequency-shift theorem (modulation theorem) 156
3.3.5 Circular convolution in time 157
3.3.6 Correlation 158
3.3.7 Complex conjugation 159
3.3.8 Real and imaginary sequences 159
3.3.9 Symmetric and antisymmetric sequences 160
3.3.10 Parseval’s theorem 162
3.3.11 Relationship between the DFT and the z transform 163
3.4 Digital filtering using the DFT 164
3.4.1 Linear and circular convolutions 164
3.4.2 Overlap-and-add method 168
3.4.3 Overlap-and-save method 171
3.5 Fast Fourier transform 175
3.5.1 Radix-2 algorithm with decimation in time 176
3.5.2 Decimation in frequency 184
3.5.3 Radix-4 algorithm 187
3.5.4 Algorithms for arbitrary values of N 192
3.5.5 Alternative techniques for determining the DFT 193
3.6 Other discrete transforms 194
3.6.1 Discrete transforms and Parseval’s theorem 195
3.6.2 Discrete transforms and orthogonality 196
3.6.3 Discrete cosine transform 199
3.6.4 A family of sine and cosine transforms 203
3.6.5 Discrete Hartley transform 205
3.6.6 Hadamard transform 206
3.6.7 Other important transforms 207
3.7 Signal representations 208
3.7.1 Laplace transform 208
3.7.2 The z transform 208
3.7.3 Fourier transform (continuous time) 209
3.7.4 Fourier transform (discrete time) 209
3.7.5 Fourier series 210
3.7.6 Discrete Fourier transform 210
3.8 Do-it-yourself: discrete transforms 211
3.9 Discrete transforms with Matlab 215
3.10 Summary 216
3.11 Exercises 217

4 Digital filters 222

4.1 Introduction 222
4.2 Basic structures of nonrecursive digital filters 222
x Contents

4.2.1 Direct form 223

4.2.2 Cascade form 224
4.2.3 Linear-phase forms 225
4.3 Basic structures of recursive digital filters 232
4.3.1 Direct forms 232
4.3.2 Cascade form 236
4.3.3 Parallel form 237
4.4 Digital network analysis 241
4.5 State-space description 244
4.6 Basic properties of digital networks 246
4.6.1 Tellegen’s theorem 246
4.6.2 Reciprocity 248
4.6.3 Interreciprocity 249
4.6.4 Transposition 249
4.6.5 Sensitivity 250
4.7 Useful building blocks 257
4.7.1 Second-order building blocks 257
4.7.2 Digital oscillators 260
4.7.3 Comb filter 261
4.8 Do-it-yourself: digital filters 263
4.9 Digital filter forms with Matlab 266
4.10 Summary 270
4.11 Exercises 270

5 FIR filter approximations 277

5.1 Introduction 277
5.2 Ideal characteristics of standard filters 277
5.2.1 Lowpass, highpass, bandpass, and bandstop filters 278
5.2.2 Differentiators 280
5.2.3 Hilbert transformers 281
5.2.4 Summary 283
5.3 FIR filter approximation by frequency sampling 283
5.4 FIR filter approximation with window functions 291
5.4.1 Rectangular window 294
5.4.2 Triangular windows 295
5.4.3 Hamming and Hann windows 296
5.4.4 Blackman window 297
5.4.5 Kaiser window 299
5.4.6 Dolph–Chebyshev window 306
5.5 Maximally flat FIR filter approximation 309
5.6 FIR filter approximation by optimization 313
5.6.1 Weighted least-squares method 317
5.6.2 Chebyshev method 321
5.6.3 WLS--Chebyshev method 327
xi Contents

5.7 Do-it-yourself: FIR filter approximations 333

5.8 FIR filter approximation with Matlab 336
5.9 Summary 342
5.10 Exercises 343

6 IIR filter approximations 349

6.1 Introduction 349
6.2 Analog filter approximations 350
6.2.1 Analog filter specification 350
6.2.2 Butterworth approximation 351
6.2.3 Chebyshev approximation 353
6.2.4 Elliptic approximation 356
6.2.5 Frequency transformations 359
6.3 Continuous-time to discrete-time transformations 368
6.3.1 Impulse-invariance method 368
6.3.2 Bilinear transformation method 372
6.4 Frequency transformation in the discrete-time domain 378
6.4.1 Lowpass-to-lowpass transformation 379
6.4.2 Lowpass-to-highpass transformation 380
6.4.3 Lowpass-to-bandpass transformation 380
6.4.4 Lowpass-to-bandstop transformation 381
6.4.5 Variable-cutoff filter design 381
6.5 Magnitude and phase approximation 382
6.5.1 Basic principles 382
6.5.2 Multivariable function minimization method 387
6.5.3 Alternative methods 389
6.6 Time-domain approximation 391
6.6.1 Approximate approach 393
6.7 Do-it-yourself: IIR filter approximations 394
6.8 IIR filter approximation with Matlab 399
6.9 Summary 403
6.10 Exercises 404

7 Spectral estimation 409

7.1 Introduction 409
7.2 Estimation theory 410
7.3 Nonparametric spectral estimation 411
7.3.1 Periodogram 411
7.3.2 Periodogram variations 413
7.3.3 Minimum-variance spectral estimator 416
7.4 Modeling theory 419
7.4.1 Rational transfer-function models 419
7.4.2 Yule–Walker equations 423
xii Contents

7.5 Parametric spectral estimation 426

7.5.1 Linear prediction 426
7.5.2 Covariance method 430
7.5.3 Autocorrelation method 431
7.5.4 Levinson–Durbin algorithm 432
7.5.5 Burg’s method 434
7.5.6 Relationship of the Levinson–Durbin algorithm to
a lattice structure 438
7.6 Wiener filter 438
7.7 Other methods for spectral estimation 441
7.8 Do-it-yourself: spectral estimation 442
7.9 Spectral estimation with Matlab 449
7.10 Summary 450
7.11 Exercises 451

8 Multirate systems 455

8.1 Introduction 455
8.2 Basic principles 455
8.3 Decimation 456
8.4 Interpolation 462
8.4.1 Examples of interpolators 464
8.5 Rational sampling-rate changes 465
8.6 Inverse operations 466
8.7 Noble identities 467
8.8 Polyphase decompositions 469
8.9 Commutator models 471
8.10 Decimation and interpolation for efficient filter implementation 474
8.10.1 Narrowband FIR filters 474
8.10.2 Wideband FIR filters with narrow transition bands 477
8.11 Overlapped block filtering 479
8.11.1 Nonoverlapped case 480
8.11.2 Overlapped input and output 483
8.11.3 Fast convolution structure I 487
8.11.4 Fast convolution structure II 487
8.12 Random signals in multirate systems 490
8.12.1 Interpolated random signals 491
8.12.2 Decimated random signals 492
8.13 Do-it-yourself: multirate systems 493
8.14 Multirate systems with Matlab 495
8.15 Summary 497
8.16 Exercises 498

9 Filter banks 503

9.1 Introduction 503
9.2 Filter banks 503
xiii Contents

9.2.1 Decimation of a bandpass signal 504

9.2.2 Inverse decimation of a bandpass signal 505
9.2.3 Critically decimated M -band filter banks 506
9.3 Perfect reconstruction 507
9.3.1 M -band filter banks in terms of polyphase components 507
9.3.2 Perfect reconstruction M -band filter banks 509
9.4 Analysis of M -band filter banks 517
9.4.1 Modulation matrix representation 518
9.4.2 Time-domain analysis 520
9.4.3 Orthogonality and biorthogonality in filter banks 529
9.4.4 Transmultiplexers 534
9.5 General two-band perfect reconstruction filter banks 535
9.6 QMF filter banks 540
9.7 CQF filter banks 543
9.8 Block transforms 548
9.9 Cosine-modulated filter banks 554
9.9.1 The optimization problem in the design of
cosine-modulated filter banks 559
9.10 Lapped transforms 563
9.10.1 Fast algorithms and biorthogonal LOT 573
9.10.2 Generalized LOT 576
9.11 Do-it-yourself: filter banks 581
9.12 Filter banks with Matlab 594
9.13 Summary 594
9.14 Exercises 595

10 Wavelet transforms 599

10.1 Introduction 599
10.2 Wavelet transforms 599
10.2.1 Hierarchical filter banks 599
10.2.2 Wavelets 601
10.2.3 Scaling functions 605
10.3 Relation between x(t) and x(n) 606
10.4 Wavelet transforms and time–frequency analysis 607
10.4.1 The short-time Fourier transform 607
10.4.2 The continuous-time wavelet transform 612
10.4.3 Sampling the continuous-time wavelet transform:
the discrete wavelet transform 614
10.5 Multiresolution representation 617
10.5.1 Biorthogonal multiresolution representation 620
10.6 Wavelet transforms and filter banks 623
10.6.1 Relations between the filter coefficients 629
10.7 Regularity 633
10.7.1 Additional constraints imposed on the filter banks
due to the regularity condition 634
xiv Contents

10.7.2 A practical estimate of regularity 635

10.7.3 Number of vanishing moments 636
10.8 Examples of wavelets 638
10.9 Wavelet transforms of images 641
10.10 Wavelet transforms of finite-length signals 646
10.10.1 Periodic signal extension 646
10.10.2 Symmetric signal extensions 648
10.11 Do-it-yourself: wavelet transforms 653
10.12 Wavelets with Matlab 659
10.13 Summary 664
10.14 Exercises 665

11 Finite-precision digital signal processing 668

11.1 Introduction 668
11.2 Binary number representation 670
11.2.1 Fixed-point representations 670
11.2.2 Signed power-of-two representation 672
11.2.3 Floating-point representation 673
11.3 Basic elements 674
11.3.1 Properties of the two’s-complement representation 674
11.3.2 Serial adder 674
11.3.3 Serial multiplier 676
11.3.4 Parallel adder 684
11.3.5 Parallel multiplier 684
11.4 Distributed arithmetic implementation 685
11.5 Product quantization 691
11.6 Signal scaling 697
11.7 Coefficient quantization 706
11.7.1 Deterministic sensitivity criterion 708
11.7.2 Statistical forecast of the wordlength 711
11.8 Limit cycles 715
11.8.1 Granular limit cycles 715
11.8.2 Overflow limit cycles 717
11.8.3 Elimination of zero-input limit cycles 719
11.8.4 Elimination of constant-input limit cycles 725
11.8.5 Forced-response stability of digital filters with
nonlinearities due to overflow 729
11.9 Do-it-yourself: finite-precision digital signal processing 732
11.10 Finite-precision digital signal processing with Matlab 735
11.11 Summary 735
11.12 Exercises 736

12 Efficient FIR structures 740

12.1 Introduction 740
12.2 Lattice form 740
xv Contents

12.2.1 Filter banks using the lattice form 742

12.3 Polyphase form 749
12.4 Frequency-domain form 750
12.5 Recursive running sum form 750
12.6 Modified-sinc filter 752
12.7 Realizations with reduced number of arithmetic operations 753
12.7.1 Prefilter approach 753
12.7.2 Interpolation approach 756
12.7.3 Frequency-response masking approach 760
12.7.4 Quadrature approach 771
12.8 Do-it-yourself: efficient FIR structures 776
12.9 Efficient FIR structures with Matlab 781
12.10 Summary 782
12.11 Exercises 782

13 Efficient IIR structures 787

13.1 Introduction 787
13.2 IIR parallel and cascade filters 787
13.2.1 Parallel form 788
13.2.2 Cascade form 790
13.2.3 Error spectrum shaping 795
13.2.4 Closed-form scaling 797
13.3 State-space sections 800
13.3.1 Optimal state-space sections 801
13.3.2 State-space sections without limit cycles 806
13.4 Lattice filters 815
13.5 Doubly complementary filters 822
13.5.1 QMF filter bank implementation 826
13.6 Wave filters 828
13.6.1 Motivation 829
13.6.2 Wave elements 832
13.6.3 Lattice wave digital filters 848
13.7 Do-it-yourself: efficient IIR structures 855
13.8 Efficient IIR structures with Matlab 857
13.9 Summary 857
13.10 Exercises 858

References 863
Index 877
 Preface

This book originated from a training course for engineers at the research and development
center of TELEBRAS, the former Brazilian telecommunications holding. That course was
taught by the first author back in 1987, and its main goal was to present efficient digital
filter design methods suitable for solving some of their engineering problems. Later on, this
original text was used by the first author as the basic reference for the digital filters and
digital signal processing courses of the Electrical Engineering Program at COPPE/Federal
University of Rio de Janeiro.
For many years, former students asked why the original text was not transformed into
a book, as it presented a very distinct view that they considered worth publishing. Among
the numerous reasons not to attempt such task, we could mention that there were already
a good number of well-written texts on the subject; also, after many years of teaching
and researching on this topic, it seemed more interesting to follow other paths than the
painful one of writing a book; finally, the original text was written in Portuguese and a mere
translation of it into English would be a very tedious task.
In later years, the second and third authors, who had attended the signal processing
courses using the original material, were continuously giving new ideas on how to proceed.
That was when we decided to go through the task of completing and updating the original
text, turning it into a modern textbook. The book then took on its first-edition form, updating
the original text, and including a large amount of new material written for other courses
taught by the three authors up to 2002.
This second edition barely resembles the original lecture notes for several reasons. The
original material was heavily concentrated on filter design and realization, whereas the
present version includes a large amount of material on discrete-time systems, discrete
transforms, spectral estimation, multirate systems, filter banks, and wavelets.
This book is mainly written for use as a textbook on a digital signal processing course for
undergraduate students who have had previous exposure to basic linear systems, or to serve
as a textbook on a graduate-level course where the most advanced topics of some chapters
are covered. This reflects the structure we have at the Federal University of Rio de Janeiro,
as well as at a number of other universities we have contact with. The second edition has a
special feature designed for readers to test their learning by hands-on experience through
so-called Do-it-yourself sections, with the aid of Matlab® . A Do-it-yourself section is
included in all chapters of the book. The book also includes, at the end of most chapters, a
brief section aimed at giving a start to the reader on how to use Matlab as a tool for the
analysis and design of digital signal processing systems. As in the first edition, we decided
that having explanations about Matlab inserted in the main text would in some cases
distract the readers, making them lose focus on the subject.
xvii Preface

A distinctive feature of this book is to present a wide range of topics in digital signal
processing design and analysis in a concise and complete form, while allowing the reader to
fully develop practical systems. Although this book is primarily intended as an undergrad-
uate and graduate textbook, its origins on training courses for industry warrant its potential
usefulness to engineers working in the development of signal processing systems. In fact,
our objective is to equip the readers with the tools that enable them to understand why and
how to use digital signal processing systems; to show them how to approximate a desired
transfer function characteristic using polynomials and ratios of polynomials; to teach them
why an appropriate mapping of a transfer function into a suitable structure is important
for practical applications; and to show how to analyze, represent, and explore the trade-off
between the time and frequency representations of deterministic and stochastic signals.
For all that, each chapter includes a number of examples and end-of-chapter problems to
be solved. These are aimed at assimilating the concepts, as well as complementing the
text. In particular, the second edition includes many new examples and exercises to be
solved.
Chapters 1 and 2 review the basic concepts of discrete-time signal processing and z
transforms. Although many readers may be familiar with these subjects, they could benefit
from reading these chapters, getting used to the notation and the authors’ way of presenting
the subject. In Chapter 1 we review the concepts of discrete-time systems, including the
representation of discrete-time signals and systems, as well as their time-domain responses.
Most important, we present the sampling theorem, which sets the conditions for the discrete-
time systems to solve practical problems related to our real continuous-time world. The
basic concepts of random signals are also introduced in this chapter, followed by the Do-it-
yourself section aiding the reader to test their progress in discrete-time signals and systems.
Chapter 2 is concerned with the z and Fourier transforms, which are useful mathematical
tools for representation of discrete-time signals and systems. The basic properties of the z
and Fourier transforms are discussed, including a stability test in the z transform domain.
The chapter also shows how the analysis of random signals can benefit from the z-domain
formulation.
Chapter 3 discusses discrete transforms, with special emphasis given to the discrete
Fourier transform (DFT), which is an invaluable tool in the frequency analysis of discrete-
time signals. The DFT allows a discrete representation of discrete-time signals in the
frequency domain. Since the sequence representation is natural for digital computers, the
DFT is a very powerful tool, because it enables us to manipulate frequency-domain infor-
mation in the same way as we can manipulate the original sequences. The importance of the
DFT is further increased by the fact that computationally efficient algorithms, the so-called
fast Fourier transforms (FFTs), are available to compute the DFT. This chapter also presents
real coefficient transforms, such as cosine and sine transforms, which are widely used in
modern audio and video coding, as well as in a number of other applications. A discussion
about orthogonality in transforms is also included. This section also includes a discussion
on the several forms of representing the signals, in order to aid the reader with the available
choices.
Chapter 4 addresses the basic structures for mapping a transfer function into a digital filter.
It is also devoted to some basic analysis methods and properties of digital filter structures.
xviii Preface

The chapter also introduces some simple and useful building blocks widely utilized in some
designs and applications.
Chapter 5 introduces several approximation methods for filters with finite-duration
impulse response (FIR), starting with the simpler frequency sampling method and the widely
used windows method. This method also provides insight to the windowing strategy used
in several signal processing applications. Other approximation methods included are the
maximally flat filters and those based on the weighted least-squares (WLS) method. This
chapter also presents the Chebyshev approximation based on a multivariable optimization
algorithm called the Remez exchange method. This approach leads to linear-phase transfer
functions with minimum order given a prescribed set of frequency response specifications.
This chapter also discusses the WLS–Chebyshev method which leads to transfer functions
where the maximum and the total energy of the approximation error are prescribed. This
approximation method is not widely discussed in the open literature but appears to be very
useful for a number of applications.
Chapter 6 discusses the approximation procedures for filters with infinite-duration
impulse response (IIR). We start with the classical continuous-time transfer-function
approximations, namely the Butterworth, Chebyshev, and elliptic approximations, that
can generate discrete-time transfer functions by using appropriate transformations. Two
transformation methods are then presented: the impulse-invariance and the bilinear trans-
formation methods. The chapter also includes a section on frequency transformations in the
discrete-time domain. The simultaneous magnitude and phase approximation of IIR digital
filters using optimization techniques is also included, providing a tool to design transfer
functions satisfying more general specifications. The chapter closes by addressing the issue
of time-domain approximations.
Chapter 7 introduces the basic concepts of classical estimation theory. It starts by describ-
ing the nonparametric spectral estimation methods based on a periodogram, followed by the
minimum-variance spectral estimator. The chapter continues with a discussion on model-
ing theory, addressing the rational transfer function models and presenting the Yule–Walker
equations. Several parametric spectral estimation methods are also presented, namely: the
linear prediction method; the covariance method; the autocorrelation method; the Levinson–
Durbin algorithm; and Burg’s method. The chapter also discusses the Wiener filter as an
extension of the linear prediction method.
Chapter 8 deals with basic principles of discrete-time systems with multiple sampling
rates. In this chapter we emphasize the basic properties of multirate systems, thoroughly
addressing the decimation and interpolation operations, giving examples of their use for
efficient digital filter design. The chapter discusses many key properties of multirate
systems, such as inverse operations and noble identities, and introduces some analytical
tools, such as polyphase decomposition and the commutator models. In addition, we dis-
cuss the concepts of overlapped block filtering, which can be very useful in some fast
implementations of digital signal processing building blocks. The chapter also includes
some discussion on how decimators and interpolators affect the properties of random
signals.
Chapter 9 discusses some properties pertaining to the internal structure of filter banks, fol-
lowed by the concept and construction of perfect reconstruction filter banks. The chapter also
Discovering Diverse Content Through
Random Scribd Documents
 The Lapwing

The pheasant is only once mentioned by

Shakespeare, and in a ludicrous way. When the The Pheasant
Shepherd and the Clown in The Winter’s Tale are and Partridge
accosted by Autolycus on their errand to the king,
the following conversation ensues:
Aut. I command thee to open thy affair.
Shep. My business, sir, is to the king.
Aut. What advocate hast thou to him?
Shep. I know not, an’t like you.
Clown [aside] Advocate’s the court-word for a pheasant: say you
have none—
Shep. None, sir; I have no pheasant, cock nor hen.
Aut. How blessed are we that are not simple men!
Yet nature might have made me as these are;
Therefore I will not disdain.[124]
We find the partridge referred to twice in the dramas, once as part
of the game in a puttock’s nest, in the passage already cited, and
the second time in the encounter of wit between Beatrice and
Benedick at the masked ball when she, pretending not to recognise
him, heaps all manner of ridicule upon him, ending with the taunt
that if he should hear what she has been saying about him,
He’ll but break a comparison or two on me; which
peradventure not marked or not laughed at, strikes him into
melancholy; and there’s a partridge wing saved, for the fool
will eat no supper that night.[125]
The snipe is only once mentioned and the name is used as a
contemptuous epithet. Iago, as he soliloquises after an interview
with the “gulled gentleman” Rodrigo, affirms
I mine own gain’d knowledge should profane
If I would time expend with such a snipe,
But for my sport and profit.[126]
 The quail is likewise referred to in two of the
The Quail and
Plays dealing with Greek and Roman history. Lapwing
Antony, comparing his chances in life with Octavius
Caesar’s, confesses to himself
The very dice obey him: if we draw lots he speeds;
His cocks do win the battle still of mine;
His quails ever beat mine, inhoop’d, at odds.[127]

Thersites speaks thus slightingly of a great warrior:

Here’s Agamemnon, an honest fellow enough, and one
that loves quails; but he has not so much brain as ear-wax.
[128]

In both these quotations the reference seems to be to a practice of

training quails to fight after the manner of cock-fighting.
The allusions to the lapwing indicate that the dramatist was
acquainted with some of the characteristics of the bird. The tactics
of the male bird to entice a passer-by away from his nest are
expressed in the line

Far from her nest the lapwing cries away.[129]

When the plot is laid to get Beatrice to accept Benedick as her lover,
and the plotters see her “couched in the woodbine coverture,” Hero
urges:
Now begin;
For look where Beatrice, like a lapwing, runs
Close by the ground, to hear our conference.[130]

Lucio, the Euphuist, in Measure for Measure, confesses

’Tis my familiar sin,
With maids to seem the lapwing, and to jest,
Tongue far from heart.[131]
 The wild duck or mallard is taken by Shakespeare as a symbol of
cowardice and uxoriousness. Falstaff, after robbing the travellers on
the highway, without the help of the two chief members of the gang,
declares,
An the Prince and Poins be not two arrant cowards, there’s
no equity stirring: there’s no more valour in that Poins than in
a wild duck.[132]
In the description of the flight of Cleopatra from the battle of
Actium, the conduct of her Roman lover is thus given:
The noble ruin of her magic, Antony,
Claps on his sea-wing, and like a doting mallard,
Leaving the fight in height, flies after her.[133]
 The dabchick, dive-dapper or little grebe is
portrayed in a dainty little vignette in the Venus The Dabchick
and Adonis, which brings the bird before our eyes, and Raven
as it may be seen on many a stream or lake in this
country and even on artificial waters, such as those of St. James’s
Park. The passage represents Venus vowing to her unresponsive
mortal “by her fair immortal hand”:
Upon this promise did he raise his chin
Like a dive-dapper peering through a wave
Who, being look’d on, ducks as quickly in.[134]

The birds of the crow family are well represented in Shakespeare’s

works. Chief among them comes the raven, to which frequent and
effective allusion is made. The remarkably dark hue of the bird,
including even his bill and his feet, has made his name proverbial as
a type of the deepest blackness in Nature. In one of the Sonnets it is
said that
In the old age black was not counted fair,
Or if it were, it bore not beauty’s name;
But now is black beauty’s successive heir:
* * * * * * *
Therefore my mistress’ eyes are raven black.[135]

With pardonable exaggeration, Juliet, as she stood alone in the

orchard awaiting her lover, gave vent thus to her longing:
Come, night; come, Romeo; come, thou day in night;
For thou wilt lie upon the wings of night
Whiter than new snow on a raven’s back.[136]

The blackness of this bird in contrast to the pure whiteness of a

dove, supplies an image to Lysander, mistakenly bewitched by the
mischievous Puck:
Not Hermia but Helena I love:
Who will not change a raven for a dove?[137]
 The Raven has long had the evil reputation of
not only killing the smaller wild animals but, in The Raven
common with the crows and kites, of watching for
and attacking those of larger size that look enfeebled by disease or
accident. Thus we read that
Vast confusion waits,
As doth a raven on a sick-fallen beast,
The imminent decay of wrested pomp.[138]

With less justice, the bird has also been credited with savageness of
disposition—a character which Shakespeare has sometimes
attributed to persons who may outwardly seem to be gentle and
kindly. These are said to have “a raven’s heart within a dove.”[139]
Juliet expands the simile—
Beautiful tyrant! fiend angelical!
Dove-feather’d raven! wolvish-ravening lamb!
Just opposite to what thou justly seem’st.[140]

Yet there was a belief that the Raven can show a wholly different
nature:
Some say that ravens foster forlorn children,
The whilst their own birds famish in their nests.[141]

The Raven comes into one of the Scriptural allusions in the Plays
where the faithful old Adam, pressing upon Orlando the thrifty
savings of his lifetime, consoles himself with the prayer
He that doth the ravens feed,
Yea, providently caters for the sparrow,
Be comfort to my age![142]

But the most frequent reference made by Shakespeare to this bird

has regard to its supposed boding power. It is called the “fatal
raven.” A messenger of ill news is said to “sing a raven’s note.” When
Othello has the first suspicions craftily suggested to him by Iago, he
exclaims
O, it comes o’er my memory,
As doth the raven o’er the infected house,
Boding to all.[143]

Again, when the king is approaching the Castle at Inverness, we

hear from Lady Macbeth the ominous words:
The raven himself is hoarse
That croaks the fatal entrance of Duncan
Under my battlements.[144]

The Mallard
 Under the general name of crows Shakespeare
The Crows
seems to group the Carrion Crow, the Hooded
Crow and the Rook, though the last-named is plainly distinguished in
the description of evening when Macbeth tells his wife
Light thickens, and the crow
Makes wing to the rocky wood.[145]

Like the Raven, the Crows are often contrasted with something pure
and white. Thus, in a striking simile, we learn that
The ornament of beauty is suspect,
A crow that flies in heaven’s sweetest air.[146]

The simile is sometimes reversed, as where Romeo, on seeing Juliet

for the first time, exclaims:
Beauty too rich for use, for earth too dear!
So shows a snowy dove trooping with crows,
As yonder lady o’er her fellows shows.[147]

Although it is usually with the dove that the contrast is drawn,

another bird is sometimes chosen:
The crow may bathe his coal-black wings in mire,
And unperceiv’d fly with the filth away;
But if the like the snow-white swan desire,
The stain upon his silver down will stay.[148]

Again, when Benvolio presses Romeo to come with him to Capulet’s

feast, where he will see his Rosaline among the admired beauties of
Verona, he challenges him, “with unattainted eye,” to
Compare her face with some that I shall show
And I will make thee think thy swan a crow.[149]
The Raven
 In Shakespeare’s day the chough must have
The Chough
been a much commoner bird in our islands than it
is now. At present it is not known to breed on the south coast of
England further east than the cliffs of Dorset. Three hundred years
ago, however, it seems to have been abundant about the chalk
headlands of Kent. That it was a familiar English bird may be
inferred from various passages in our poet’s writings. The most
striking scene depicted by him, wherein this bird plays a conspicuous
part, is his picture of Dover cliffs, drawn so vividly, as from an actual
visit to the place:
How fearful
And dizzy ’tis to east one’s eyes so low!
The crows and choughs that wing the midway air
Show scarce so gross as beetles: half way down
Hangs one that gathers samphire, dreadful trade!
Methinks he seems no bigger than his head:
The fishermen that walk upon the beach
Appear like mice; and yond tall anchoring bark
Diminish’d to her cock; her cock, a buoy
Almost too small for sight: the murmuring surge,
That on the unnumber’d idle pebbles chafes,
Cannot be heard so high.[150]

It is interesting to notice that while birds are here taken as a help

to the eye in estimating the height of the precipice as seen from the
summit, a bird is again used as a guide to gauge the height as seen
from below:
Look up a-height; the shrill-gorged lark so far
Cannot be seen or heard.[151]

The habits of the chough were not unknown to the poet, since he
chose the bird as a symbol for a certain courtier of whom it was said
that “it was a vice to know him”:
’Tis a chough, but, as I say, spacious in the possession of
dirt.[152]
 The chough’s continuous and unmusical chatter is more than once
contemptuously invoked to describe the talk of some men. When
Antonio in The Tempest tempts Sebastian to assassinate the honest
old Counsellor Gonzalo, he speaks of
Lords that can prate
As amply and unnecessarily
As this Gonzalo; I myself could make
A chough of as deep chat.[153]

In a passage in All’s Well that Ends Well where the ambush party are
concocting some sort of gibberish to deceive the vainglorious
Parolles, they agree to talk “Choughs’ language, gabble enough and
good enough.”[154] When Puck recounts to Oberon what happened
to the rustics when Bottom reappeared among them wearing the
ass’s head, he gives an excellent description of the effect of the
discharge of a fowling-piece at a bird-haunted cliff:
When they him spy,
As russet-pated choughs, many in sort,
Rising and cawing at the gun’s report,
Sever themselves and madly sweep the sky:
So, at his sight, away his fellows fly.[155]

The Chough together with the other members of the Crow family
was thought to have a supernatural prophetic gift, and a faculty of
revealing hidden deeds. Macbeth’s evil conscience was troubled with
the thought that
Stones have been known to move and trees to speak;
Augures and understood relations have
By maggot-pies and choughs and rooks brought forth
The secret’st man of blood.[156]
The Chough
 The starling is mentioned only once by Shakespeare, in a passage
which shows that in his time this bird, which has so remarkable a
power of imitation, was taught to say some words. The fiery Hotspur
declares that although the King had forbidden him to speak of
Mortimer he would find his Majesty
When he lies asleep,
And in his ear I’ll holla ‘Mortimer!’
Nay,
I’ll have a starling shall be taught to speak
Nothing but ‘Mortimer,’ and give it him,
To keep his anger still in motion.[157]
 The Jackdaw
The jackdaw appears occasionally in the dramas and Magpie
as obviously a familiar bird, but no outstanding
characters are assigned to it, except that it was common and looked
upon as somewhat stupid. Reference has already been made to the
comparison of the lower orders of society to “crows and daws.”
When, in the Temple Garden, the Earl of Warwick was asked to
decide a legal point between the supporters of the White Rose and
those of the Red Rose, he replied, that if the question had been one
of hawks, sword-blades, horses or merry-eyed girls,
I have perhaps some shallow spirit of judgement;
But in these nice sharp quillets of the law,
Good faith, I am no wiser than a daw.[158]

The magpie or Maggot-pie has already been alluded to. Macbeth

associates it with choughs and rocks as a prophet or discoverer of
evil. It is named by King Henry VI. among the boding portents that
attended the birth of his murderer Gloucester:
Dogs howl’d, and hideous tempest shook down trees;
The raven rook’d her on the chimney’s top,
And chattering pies in dismal discords sung.[159]

The jay is referred to five times by Shakespeare. In the enchanted

isle Caliban offers to guide the drunken Trinculo and Sebastian to
some of the dainties of the place:
I with my long nails will dig thee pig-nuts:
Show thee a jay’s nest, and instruct thee how
To snare the nimble marmoset.[160]
 The Starling

The name of the bird is used as an uncomplimentary epithet for

some women, as where Mrs. Ford, in reference to Falstaff’s
addresses, declares “we’ll teach him to know turtles from jays,”[161]
and where Imogen affirmed, “Some jay of Italy hath betrayed
him.”[162] But perhaps the most interesting appearance of the bird in
the Plays occurs in the scene of the Taming of the Shrew, where
after the tailor has been sent about his business, taking with him the
cap and gown which had been ordered for Katharine, and with which
she was well pleased, her husband addresses her thus:
Well, come, my Kate; we will unto your father’s
Even in these honest mean habiliments:
Our purses shall be proud, our garments poor;
For ’tis the mind that makes the body rich;
And as the sun breaks through the darkest clouds,
So honour peereth in the meanest habit.
What is the jay more precious than the lark
Because his feathers are more beautiful?
Or is the adder better than the eel,
Because his painted skin contents the eye?[163]
 Birds of the
The various Birds of the Farm-yard have received Farm-yard
due attention from the great dramatist. Chief
among them, the cock is frequently cited, especially as a recognised
chronometer of the morning hours, for in Elizabethan days this mode
of indicating time had not gone out of popular use. We all remember
the unhappy experience of the carrier in the inn at Rochester “since
the first cock.”[164] We also recall how Capulet, bustling among his
household, gave them a three-fold indication of the time:
Come, stir, stir, stir! the second cock hath crow’d,
The curfew-bell hath rung, ’tis three o’clock.[165]

Shakespeare brings the cock’s shrill clarion even into his fairyland,
for Ariel’s song breaks off at this signal:
Hark, hark! I hear
The strain of strutting chanticleer
Cry, Cock-a-diddle-dow.[166]

But the most detailed and impressive reference to this familiar

bird occurs in the memorable scene on the platform before the
Castle of Elsinore. The ghost had just appeared to Hamlet’s friends
and
Was about to speak when the cock crew.
And then it started like a guilty thing The Cock and
Upon a fearful summons. I have heard, Goose
The cock, that is the trumpet to the morn,
Doth with his lofty and shrill-sounding throat
Awake the god of day, and at his warning,
Whether in sea or fire, in earth or air,
The extravagant and erring spirit hies
To his confine: and of the truth herein
This present object made probation:
It faded on the crowing of the cock.
Some say that ever ’gainst that season comes
Wherein our Saviour’s birth is celebrated,
The bird of dawning singeth all night long:
 And then, they say, no spirit dare stir abroad,
The nights are wholesome, then no planets strike,
No fairy takes, nor witch hath power to charm;
So hallowed and so gracious is the time.[167]

The goose, so frequently alluded to in the Plays, usually appears

there as the recognised symbol of human stupidity and cowardice.
How far this character, if really deserved by the bird, is the result of
domestication and association with man for many centuries, is a
question for ornithological psychologists. There can be no doubt that
the wild-goose does not deserve the reputation attributed to his
degenerate kinsman in the farm-yard. Shakespeare was aware how
active and vigilant that bird was among the fens which it haunted.
He refers to the sudden uprise and flight of

The wild geese that the creeping fowler eye,[168]

and to the autumnal movement of these fowl to the larger waters, a
fact known even to Lear’s fool, who remarks:
 The winter’s not gone yet if the wild geese fly that way.[169]
The rapidity with which these birds disappear when they take wing
was likewise familiar knowledge. The melancholy Jaques claims that
if a man whom he censures does not deserve reproof,
Why then my taxing, like a wild goose, flies,
Unclaim’d of any man.[170]

The difficulty of circumventing the bird is conveyed in the

proverbial expression “a wild-goose chase,” which was well known in
the time of Elizabeth. Mercutio retorts to Romeo:
Nay, if thy wits run the wild-goose chase, I have done; for
thou hast more of the wild-goose in one of thy wits than, I
am sure, I have in my whole five.[171]
The swan, perhaps in Shakespeare’s day more
abundant in this country than it is now, was then The Swan
regarded as a “Bird Royal” which nobody could
keep without a licence from the Crown, and provision for making a
certain mark on the bird’s bill to denote its ownership. Our
Sovereigns still maintain the Royal Swans on the Thames, and the
young birds are regularly taken up in summer to receive the mark.
To this bird full recognition has been paid by our dramatist. He
places it before us in its usual watery domain, where its nest serves
as a symbol of Britain set in the midst of the sea, “like a swan’s nest
in a great pool.”[172] He lets us see
The swan her downy cygnets save,
Keeping them prisoner underneath her wings.[173]

We watch the bird’s ungainly gait on land and are told that
All the water in the ocean
Can never turn the swan’s black legs to white,
Although she lave them hourly in the flood.[174]
The perfect stillness of the surface of a sheet of water is marked by
The swan’s down-feather,
That stands upon the swell at full of tide
And neither way inclines.[175]

Again, we watch
A swan
With bootless labour swim against the tide
And spend her strength with overmatching waves.[176]

The time-honoured legend that the “death-divining swan” utters a

musical note or wail at the time of dying is repeatedly alluded to by
the poet, and sometimes as if it were a reality. Lucrece, at her
approaching death, like a
Pale swan in her watery nest,
Begins the sad dirge of her certain ending.[177]

Prince Henry, son of King John, when told that his dying father had
been singing, muses thus:
’Tis strange that death should sing:
I am the cygnet to this pale faint swan
Who chants a doleful hymn to his own death.[178]

In the scene wherein Othello discovers the double-dyed villainy of

Iago, a touching incident is the wandering language of the faithful
dying Emilia, whose mind goes back to her beloved mistress:
What did thy song bode, lady?
Hark, canst thou hear me? I will play the swan,
And die in music. [Singing] Willow, willow, willow.[179]

More cheerful is the use of the legend by Portia when Bassanio

stands before the caskets, and she, deeply interested in the result,
commands
Let music sound while he doth make his choice;
Then, if he lose, he makes a swan-like end,
 Fading in music.[180]

The turkey-cock, introduced into Europe from the

New World in the early part of the sixteenth The Turkey-
century, had become quite naturalised in the farm- cock and
yards of England by the time of Elizabeth. It is Peacock
several times alluded to by Shakespeare,
sometimes as a symbol of conceited ostentation, and also as an
article of food. When in King Henry V. Gower sees Pistol
approaching, he exclaims to Fluellen “Here he comes, swelling like a
turkey-cock,” to which the Welshman, who had resolved to make the
braggart eat the leek, replies, “’Tis no matter for his swellings nor
his turkey-cocks.”[181] Not less appropriately is the comparison used
of Malvolio, who, as Maria said, had been “yonder i’ the sun
practising behaviour to his own shadow this half hour.” As the three
concealed onlookers watch him strutting down the walk, talking to
himself, they can scarcely restrain themselves. Fabian entreats
silence:
O, peace! Contemplation makes a rare turkey-cock of him:
how he jets under his advanced plumes.[182]
 The Magpie

It will be remembered that among the produce on its way to London

in the carts of the two carriers at the Rochester inn there was a
pannier of live turkeys.[183]
The peacock is alluded to several times in the Plays as the
accepted personification of pride. Joan of Arc is represented as
counselling the Princes:
Let frantic Talbot triumph for a while
And like a peacock sweep along his tail;
We’ll pull his plumes and take away his train.[184]
Thersites says of Ajax that he “goes up and down the field asking for
himself; he stalks up and down like a peacock—a stride and a
stand.”[185] When King Henry V. mingles incognito among his soldiers
in France, one of them tells him:
That’s a perilous shot out of an elder-gun, that a poor and
a private displeasure can do against a monarch! you may as
well go about to turn the sun to ice with fanning in his face
with a peacock’s feather.[186]
“‘Fly pride,’ says the peacock,” is a pithy proverb put into the mouth
of Dromio of Syracuse.[187]
The Jay
 The dove and the pigeon are often mentioned in
Doves and
Shakespeare’s writings, without any essential Pigeons
distinction being drawn between them. Thus, we
read in one passage that “Venus yokes her silver doves,”[188] while in
another place the birds appear as “Venus’ pigeons.”[189] Again, in a
less poetical sphere, they are even interchanged as articles of food.
On the one hand we find Justice Shallow ordering “some pigeons”
and any other “pretty little tiny kickshaws” for the entertainment of
Falstaff,[190] and on the other hand, we note that old Gobbo, when
he wanted Bassanio to take his son into service, presents to that
gentleman “a dish of doves.”[191]
The Dove is typically pure white, and stands as the recognised
emblem of gentleness, purity and innocence. Yet in direst
emergencies this timid bird may show fight in defence of its young.
We are told that
The smallest worm will turn being trodden on,
And doves will peck in safeguard of their brood.[192]

It was believed that when “frighted out of fear” the dove would peck
the ostrich,[193] and it had probably been actually observed in
hawking experience, that as
Cowards fight when they can fly no further
So doves do peck the falcon’s piercing talons.[194]

The turtle-dove, long the accepted symbol of conjugal affection

and loving tenderness, has an honoured place in Shakespeare’s
pages.[195] We there read of “a pair of loving turtle-doves that could
not live asunder day or night.”[196] Florizel takes Perdita’s hand in
Winter’s Tale, with the significant assertion:
So turtles pair
That never mean to part.[197]
And at the end of the same Play, the widowed Paulina, when all
around her has at last ended happily, desires to retire into solitude:
I, an old turtle,
Will wing me to some wither’d bough and there
My mate, that’s never to be found again,
Lament till I am lost.

The Turtle-Dove

The Pigeon is not only presented as an article of food; but is

sometimes slightingly alluded to, with reflections on its mode of
feeding and its timidity. Of the “honey-tongued Boyet” it was
remarked
This fellow pecks up wit as pigeons pease
And utters it again when God doth please.[198]

And Hamlet, reflecting on his slowness to avenge his father’s murder,

reproaches himself as “pigeon-liver’d and lacking gall.”[199]
 The Smaller
I have reserved for the last section of this Essay Birds
the smaller birds, including the songsters, as these
are noticed in Shakespeare’s Poems and Dramas. A number of them
are grouped together by Bottom in the ditty, singing which he wakes
the sleeping Fairy Queen:
The ousel-cock so black of hue,
With orange-tawny bill,
The throstle with his note so true,
The wren with little quill;

The finch, the sparrow, and the lark,

The plain-song cuckoo gray,
Whose note full many a man doth mark
And dares not answer nay.[200]

Of the birds recounted in this song,

The Lark
Shakespeare’s favourite, if we may judge from the
frequency and appreciation with which he mentions it, was the lark.
He makes this bird a rival to Chanticleer in the honour of setting the
day agoing. He calls it “the morning lark,” “the herald of the morn,”
specially associated with the brightness and glory of dawn.
Lo, here the gentle lark, weary of rest,
From his moist cabinet mounts up on high,
And wakes the morning, from whose silver breast
The sun ariseth in his majesty.[201]

Again
The busy day,
Waked by the lark, hath roused the ribald crows.[202]

The blithe sound of the bird’s carol is commemorated in the line

The merry larks are ploughmen’s clocks.
How joyfully does this feeling find expression in the exquisite song in
Cymbeline:
Hark, hark! the lark at heaven’s gate sings,
And Phoebus ’gins arise,
His steeds to water at those springs
On chaliced flowers that lies;
And winking Mary-buds begin
To ope their golden eyes;
With every thing that pretty is,
My lady sweet arise:
Arise, arise![203]

The bird-melodies of night and morning were never more delicately

commingled than in the garden scene where Juliet, from her window
above, would fain persuade her lingering lover that it was not yet
near day:
Jul. Wilt thou be gone? it is not yet near day:
It was the nightingale, and not the lark,
That pierced the fearful hollow of thine ear;
Nightly she sings on yond pomegranate-tree:
Believe me, love, it was the nightingale.
Rom. It was the lark, the herald of the morn,
No nightingale; look, love, what envious streaks
Do lace the severing clouds in yonder east:
Night’s candles are burnt out, and jocund day
Stands tiptoe on the misty mountain-tops:
I must be gone and live, or stay and die.
Jul. Yond light is not day-light, I know it, I:
It is some meteor that the sun exhales,
To be to thee this night a torch-bearer,
And light thee on thy way to Mantua:
Therefore stay yet; thou needst not to be gone.
Rom. Let me be ta’en, let me be put to death;
I am content, so thou wilt have it so.
I’ll say yon grey is not the morning’s eye,
’Tis but the pale reflex of Cynthia’s brow.
Nor that is not the lark, whose notes do beat
The vaulty heaven so high above our heads:
How is’t my soul? let’s talk: it is not day.
Jul. It is, it is: hie hence, be gone, away!
It is the lark that sings so out of tune.
* * * * * * *
Some say the lark and loathed toad change eyes;
O, now I would they had changed voices too![204]
Welcome to our website – the ideal destination for book lovers and
knowledge seekers. With a mission to inspire endlessly, we offer a
vast collection of books, ranging from classic literary works to
specialized publications, self-development books, and children's
literature. Each book is a new journey of discovery, expanding
knowledge and enriching the soul of the reade

Our website is not just a platform for buying books, but a bridge
connecting readers to the timeless values of culture and wisdom. With
an elegant, user-friendly interface and an intelligent search system,
we are committed to providing a quick and convenient shopping
experience. Additionally, our special promotions and home delivery
services ensure that you save time and fully enjoy the joy of reading.

Let us accompany you on the journey of exploring knowledge and

personal growth!

ebookfinal.com