Part 4

Dead fish are frequently thus luminous, and brilliant phosphorescence is often an accompaniment of decomposition of both animal and vegetable matter. A few decaying potatoes will often light up a corner of a cellar which is dim by daylight, and an instance is on record of a certain cellar full of these vegetables giving off such a flood of light as to lead observers to suppose that the premises were on fire.

Many animals, and especially fishes and insects, possess luminous properties. The familiar examples of the glowworm and fire-fly hardly need be mentioned. Then there are the big lantern-flies, with their luminous heads; and brilliant snapping beetles of the South, with their two glowing headlights, so effectively employed as ornaments for the hair and otherwise in the toilet of the Cuban belle. But the sea is the home of luminous life. From the diminutive myriads of the noctiluca, which sets the sea aflame, to the numerous larger finny tribes, the ocean is peopled with animal life, which, though dwelling in depths scarce reached by the faintest gleam from the sun, swim about enveloped in their self-illumined halo.

While all these phenomena come under the general term of phosphorescence, the inference of the presence of phosphorus is incorrect; many substances without a trace of phosphorus in their constitution emit light with equal brilliancy.

The well-known commercial article called "luminous paint" is an apt example, which, while containing no trace of phosphorus, glows like fox-fire at night, especially after having been exposed to the sun's rays during the day, giving forth in the dark hours the light which it has thus absorbed, and being thus of utility in its application to clock faces and match-boxes.

Calcined lime and burnt oyster-shells, in combination with certain acids, become luminous at night by the similar power of absorption and transmission of light vibration which is supposed to be the secret of much of the so-called phosphorescence.

But fox-fire is believed to be of a different nature, more chemical in its character, and usually emanates from a fungus, either visible in the form of mould or toadstool, or existing as an almost invisible essence which saturates the decaying wood, a species known as Thelaphora cerulea being credited with most of the luminous manifestations.

Fox-fire is occasionally put to a cruel utility by hunters in association with the "salt-lick" for deer. Salt is scattered in a selected spot, and a piece of fox-fire adjusted beyond it in direct line of the aim of the rifle, which is securely fixed in place. The sudden obscuration of the light is a sufficient signal for the still-hunter, who has only to pull the trigger to secure the game, even though the latter be entirely hid in the darkness.

The more common examples of fox-fire are small bits of decayed wood, but most astonishing specimens have been observed. In addition to the fine example mentioned by Hawthorne, there is an authentic record of a single log twenty-four feet in length and a foot in diameter which was one mass of brilliant phosphorescence.

A Homely Weed with Interesting Flowers

The recent article from my pen on the "Riddle of the Bluets," and which showed the important significance of its two forms of blossoms, suggests that a few more similar expositions of the beautiful mysteries of the common flowers which we meet every day in our walks, and which we claim to "know" so well, may serve to add something to the interest of our strolls afield. It is scarcely fair to assert that familiarity can breed contempt in our relations to so lovely an object as a flower, but certain it is that this every-day contact or association, especially with the wild things of the wood, meadow, and way-side, is conducive to an apathy which dulls our sense to their actual attributes of beauty. Many of these commonplace familiars of the copse and thicket and field are indeed like voices in the wilderness to most of us. We forget that the "weed" of one country often becomes a horticultural prize in another, even as the mullein, for which it is hard for the average American to get up any enthusiasm, and which is tolerated with us only in a worthless sheep pasture, flourishes in distinction in many an English or Continental garden as the "American velvet plant."

The extent of our admiration often depends upon the relative rarity of the flower rather than upon its actual claims to our appreciation. The daisy which whitens our meadows--the "pesky white-weed" of the farmer--we are perfectly willing to see in the windrows of the scythe or tossed in the air by the fork of the hay-maker. The meed of our appreciation of the single blossom becomes extremely thin when spread over a ten-acre lot. How rarely do we see a bouquet of daisies on a country table? And yet, strange inconsistency! the marguerite of our goodwife's window-garden, almost identical with the daisy and not one whit prettier, is a prize, because it came from the "florist's," and cost twenty-five cents, with five cents extra for the pot.

A certain thrifty granger of the writer's acquaintance was recently converted from the error of his attitude towards the "tarnal weeds and brush." He was one of the tribe of blind, misguided vandals who had always deemed it his first duty "after hayin'" to invade with his scythe all the adjacent roadside, to "tidy things up," reducing to most unsightly untidiness that glorious wild garden of August's floral cornucopia, that luxuriant tangle of purple eupatorium, the early asters, golden-rod, vervains, wild-carrot, and meadow-rue.

He was converted in the sanctuary, where one August Sabbath he beheld by the side of the pulpit, dignified by a large, beautiful vase, a great bouquet of this very tall, purple thoroughwort, meadow-rue, and wild-carrot of his abomination, and which had actually fallen before his scythe on the evening previous. "Well, there!" he exclaimed; "I didn't realize they was so pretty!"

The beauty of the commonplace often requires the aid of the artist as its interpreter, a fact which Browning realized when he expressed, through Fra Lippo Lippi:

"We're made so that we love First when we see them painted, things which we have passed Perhaps a hundred times, nor cared to see."

An illustration of the truth of this axiom was afforded in a recent incident in my experience. Sitting at the open window of my country studio one summer day, engaged in making a portrait of a common weed, a friendly farmer, chancing "across lots," seeing me at work, sauntered up to "pass the time o' day." As he leaned on the window-sill his eye fell upon the drawing before me.

"My!" he exclaimed, "but ain't that pooty?"

"What!" I retorted, "and will you admit that this drawing of a weed is pretty?"

"Yes, your draft thar is pooty, but you artist fellows alliz makes 'em look pootier 'n they ought to."

So much for the mere attributes of manifest outward beauty without regard to consideration of "botany" or the structural beauty of the flowers. The "botanist" finds beauty everywhere, even among the homeliest of Flora's hosts. But in the light of the "new botany," which recognizes the insect as the important affinity of the flower--the key to its various puzzling features of color, form, and fragrance--every commonest blossom which we thought we had "known" all our lives, and every homely weed scarce worth our knowing, now becomes a rebuke, and offers us a field of investigation as fresh and promising as is offered by the veriest rare exotic of the conservatory; more so, indeed, because these latter are strangers in a strange land, and divorced from their ordained insect affinities. The plebeian daisy now becomes a marvel of a flower indeed--five hundred wonderful little mechanisms packed together in a single golden disk. The red clover refuses to recognize us now unless properly introduced by that "burly bumblebee" with which its life is so strangely linked.

The barn-yard weeds need no longer be considered uninteresting and commonplace, because their mysteries have not yet been discovered, and I can do no better in my present chapter than to select one of their number and redeem it from its hitherto lowly place among them--one of the homeliest of them all, and whose blossoms are scarce noticed by any one except a botanist.

In my initial illustration is shown a sketch of the Figwort, or scrophularia, a tall, spindling weed, with rather fine, luxuriant leaves, it is true, but with a tall, curiously branching spray of small, insignificant purplish-olive flowers, with not even a perfume, like the mignonette, to atone for its plainness. But it has an odor if not a perfume, and it has a nectary which secretes the beads of sweets for its pet companion insects, which in this instance do not happen to be bees or butterflies, but most generally wasps of various kinds, as these insects are not so particular as to the quality of their tipple as bees are apt to be. But the figwort has found out gradually through the ages that wasps are more serviceable in the cross-fertilization of its flowers than other insects, and it has thus gradually modified its shape, odor, and nectar especially to these insects.

Let us then take a careful look at these queer little homely flowers, and for the time being consider them as mere devices--first, to insure the visit of an insect, and, second, to make that insect the bearer of the pollen from one blossom to the stigma of another. Here we see a flower with three distinct welcomes on three successive days.

The flower-bud usually opens in the morning, and shows a face as at A, which must be fully understood by looking at the side section shown at A^1.

The anthers and pollen are not yet ripe, but the stigma is ready, and now guards the doorway. To-morrow morning we shall see a new condition of things at that doorway, as seen at B and B^1. The stigma has now bent down out of the way, while two anthers have unfolded on their stalks and now shed their pollen at the threshold. The third morning, or perhaps even sooner, the other pair come forward, and we see the opening of the blossom as at C. Blossoms in all these three conditions are to be found on this cluster.

A small wasp is now seen hovering about the flowers, and we must turn our attention to him as seen in Figs. 1, 2, and 3. The insect alights, we will assume, on a blossom of the second day (Fig. 1), clinging with all his feet, and thrusting his tongue into the beads of nectar shown at A^1 and B^1. He now brings his breast or thorax, or perhaps the underside of his head against the pollen, and is thoroughly dusted with it. Leaving the blossom, we see him in flight, as at Fig. 2, and very soon he is seen to come to a freshly opened flower, which he sips as before. The pollen is thus pushed against the projecting stigma, as shown at Fig. 3, and thus, one by one, the flowers are cross-fertilized.

The stigma, after receiving pollen, immediately bends downward and backward, as shown in B^1, to give place to the ripening anthers, and shortly after the last pair of them have shed their pollen the blossom, having then fulfilled its functions, falls off, as shown at D. This may be on the afternoon of the third day, or not until the fourth. If not visited by insects it may chance to remain the longer time; but more than one tiny wasp gets his head into such a blossom, and is surprised with a tumble, his weight pulling the blossom from its attachment.

The result of that pollen upon the stigma is quickly seen in the growing ovary or pod, which enlarges rapidly on the few succeeding days, as in E.