John Clare’s transcription of the nightingale’s song has been praised as ‘the most accurate rendering in words of any bird’s voice for nearly a century’. But the so-called ‘peasant poet’ was not naïve. Chapter four argues that Clare’s educational background and multifarious interests in poetry, science and natural history made him singly alert to the difficulties inherent within his own attempt to ‘syllable the sounds’ of the nightingale. The chapter places Clare’s writing in a pivotal, though pre-Darwinian, stage of the ‘science of birdsong’: a period in which all kinds of ‘facts’ about birdsong were being collected, compared and vigorously disputed. Watching the bird closely as it inwardly mutters its undersong, or stammers or hurries over ill-remembered passages, Clare witnessed the kind of behaviour which would ultimately challenge the ‘foolish lyes’ uttered by both poets and philosophers regarding how and why birds sing. By exploring the deep connections which Clare draws between the ‘muttering’ of the bird while practising its songs and his own processes of composition, the chapter seeks to challenge and break down some of the binary distinctions which have framed responses to the writings of this so-called ‘peasant-poet’: ‘natural’ and ‘artificial’, ‘instinctive’ and ‘learned’, ‘spontaneous’ and ‘premeditated’ art.