“The females,” he says, “have a shiny patch on the upper part of their body, near the hind-quarters. The shape and gloss of this disk attracted my attention the first time that I saw it. I was holding a pin, with which I touched it, to examine its structure. The [[14]]contact of the pin produced a little spectacle that surprised me: I saw a cloud of tiny spangles at once detach themselves. These spangles scattered in every direction: some seemed to be shot into the air, others to the sides; but the greater part of the cloud fell softly to the ground.
“Each of those bodies which I am calling spangles is an extremely slender lamina, bearing some resemblance to the atoms of dust on the Moths’ wings, but of course much bigger.… The disk that is so noticeable on the hind-quarters of these Moths is therefore a heap—and an enormous heap—of these scales.… The females seem to use them to wrap their eggs in; but the Moths of the Pine Caterpillar refused to lay while in my charge and consequently did not enlighten me as to whether they use the scales to cover their eggs or as to what they are doing with all those scales gathered round their hinder part, which were not given them and placed in that position to serve no purpose.”
You were right, my learned master: that dense and regular crop of spangles did not grow on the Moth’s tail for nothing. Is [[15]]there anything that has no object? You did not think so; I do not think so either. Everything has its reason for existing. Yes, you were well-inspired when you foresaw that the cloud of scales which flew out under the point of your pin must serve to protect the eggs.
I remove the scaly fleece with my pincers and, as I expected, the eggs appear, looking like little white-enamel beads. Clustering closely together, they make nine longitudinal rows. In one of these rows I count thirty-five eggs. As the nine rows are very nearly alike, the contents of the cylinder amount in all to about three hundred eggs, a respectable family for one mother!
The eggs of one row or file alternate exactly with those in the two adjoining files, so as to leave no empty spaces. They suggest a piece of bead-work produced with exquisite dexterity by patient fingers. It would be more correct still to compare them with a cob of Indian corn, with its neat rows of seeds, but a greatly reduced cob, the tininess of whose dimensions makes its mathematical precision all the more remarkable. The grains of the Moth’s spike have a slight tendency to be hexagonal, because of their mutual [[16]]pressure; they are stuck close together, so much so that they cannot be separated. If force is used, the layer comes off the leaf in fragments, in small cakes always consisting of several eggs apiece. The beads laid are therefore fastened together by a glutinous varnish; and it is on this varnish that the broad base of the defensive scales is fixed.
It would be interesting, if a favourable opportunity occurred, to see how the mother achieves that beautifully regular arrangement of the eggs and also how, as soon as she has laid one, all sticky with varnish, she makes a roof for it with a few scales removed one by one from her hind-quarters. For the moment, the very structure of the finished work tells us the course of the procedure. It is evident that the eggs are not laid in longitudinal files, but in circular rows, in rings, which lie one above the other, alternating their grains. The laying begins at the bottom, near the lower end of the double pine-leaf; it finishes at the top. The first eggs in order of date are those of the bottom ring; the last are those of the top ring. The arrangement of the scales, all in a longitudinal direction and attached by the end facing the [[17]]top of the leaf, makes any other method of progression inadmissible.
Let us consider in the light of reflection the elegant edifice now before our eyes. Young or old, cultured or ignorant, we shall all, on seeing the Bombyx’ pretty little spike, exclaim:
“How handsome!”
And what will strike us most will be not the beautiful enamel pearls, but the way in which they are put together with such geometrical regularity. Whence we can draw a great moral, to wit, that an exquisite order governs the work of a creature without consciousness, one of the humblest of the humble. A paltry Moth follows the harmonious laws of order.
If Micromégas[4] took it into his head to leave Sirius once more and visit our planet, would he find anything to admire among us? Voltaire shows him to us using one of the diamonds of his necklace as a magnifying-glass in order to obtain some sort of view of the three-master which has run aground on his thumb-nail. He enters into conversation [[18]]with the crew. A nail-paring, curved like a horn, encompasses the ship and serves as a speaking-trumpet; a tooth-pick, which touches the vessel with its tapering end and the lips of the giant, some thousand fathoms above, with the other, serves as a telephone. The outcome of the famous dialogue is that, if we would form a sound judgment of things and see them under fresh aspects, there is nothing like changing one’s planet.
The probability then is that the Sirian would have had a rather poor notion of our artistic beauties. To him our masterpieces of statuary, even though sprung from the chisel of a Phidias, would be mere dolls of marble or bronze, hardly more worthy of interest than the children’s rubber dolls are to us; our landscape-paintings would be regarded as dishes of spinach smelling unpleasantly of oil; our opera-scores would be described as very expensive noises.