Now this sweet ringing of bells between hiding-place and hiding-place is the matrimonial oratorio, the discreet summons which every Jack issues to his Jill. The sequel to the concert may be guessed without further enquiry; but what it would be impossible to foresee is the strange finale of the wedding. Behold the father, in this case a real paterfamilias, in the noblest sense of the word, coming out of his retreat one day in an unrecognizable state. He is carrying the future, tight-packed around his hind-legs; he is changing houses laden with a cluster of eggs the size of peppercorns. His calves are girt, his thighs are sheathed with the bulky burden; and it covers his back like a beggar's wallet, completely deforming him.
Whither is he going, dragging himself along, incapable of jumping, thanks to the weight of his load? He is going, the fond parent, where the mother refuses to go; he is on his way to the nearest pond, whose warm waters are indispensable to the tadpoles' hatching and existence. When the eggs are nicely ripened around his legs under the humid shelter of a stone, he braves the damp and the daylight, he the passionate lover of dry land and darkness; he advances by short stages, his lungs congested with fatigue. The pond is far away, perhaps; no matter: the plucky pilgrim will find it.
He's there. Without delay, he dives, despite his profound antipathy to bathing; and the cluster of eggs is instantly removed by the legs rubbing against each other. The eggs are now in their element; and the rest will be accomplished of itself. Having fulfilled his obligation to go right under, the father hastens to return to his well-sheltered home. He is scarcely out of sight before the little black tadpoles are hatched and playing about. They were but waiting for the contact of the water in order to burst their shells.
Among the singers in the July gloaming, one alone, were he able to vary his notes, could vie with the Toad's harmonious bells. This is the little Scops-owl, that comely nocturnal bird of prey, with the round gold eyes. He sports on his forehead two small feathered horns which have won for him in the district the name of Machoto banarudo, the Horned Owl. His song, which is rich enough to fill by itself the still night air, is of a nerve-shattering monotony. With imperturbable and measured regularity, for hours on end, "kew, kew," the bird spits out its cantata to the moon.
One of them has arrived at this moment, driven from the plane-trees in the square by the din of the rejoicings, to demand my hospitality. I can hear him in the top of a cypress near by. From up there, dominating the lyrical assembly, at regular intervals he cuts into the vague orchestration of the Grasshoppers and the Toads.
His soft note is contrasted, intermittently, with a sort of Cat's mew, coming from another spot. This is the call of the Common Owl, the meditative bird of Minerva. After hiding all day in the seclusion of a hollow olive-tree, he started on his wanderings when the shades of evening began to fall. Swinging along with a sinuous flight, he came from somewhere in the neighbourhood to the pines in my enclosure, whence he mingles his harsh mewing, slightly softened by distance, with the general concert.
The Green Grasshopper's clicking is too faint to be clearly perceived amidst these clamourers; all that reaches me is the least ripple, just noticeable when there is a moment's silence. He possesses as his apparatus of sound only a modest drum and scraper, whereas they, more highly privileged, have their bellows, the lungs, which send forth a column of vibrating air. There is no comparison possible. Let us return to the insects.
One of these, though inferior in size and no less sparingly equipped, greatly surpasses the Grasshopper in nocturnal rhapsodies. I speak of the pale and slender Italian Cricket (Oecanthus pellucens, Scop.), who is so puny that you dare not take him up for fear of crushing him. He makes music everywhere among the rosemary-bushes, while the Glow-worms light up their blue lamps to complete the revels. The delicate instrumentalist consists chiefly of a pair of large wings, thin and gleaming as strips of mica. Thanks to these dry sails, he fiddles away with an intensity capable of drowning the Toads' fugue. His performance suggests, but with more brilliancy, more tremolo in the execution, the song of the Common Black Cricket. Indeed the mistake would certainly be made by any one who did not know that, by the time the very hot weather comes, the true Cricket, the chorister of spring, has disappeared. His pleasant violin has been succeeded by another more pleasant still and worthy of special study. We shall return to him at an opportune moment.
These then, limiting ourselves to select specimens, are the principal participants in this musical evening: the Scops-owl, with his languorous solos; the Toad, that tinkler of sonatas; the Italian Cricket, who scrapes the first string of a violin; and the Green Grasshopper, who seems to beat a tiny steel triangle.
We are celebrating to-day, with greater uproar than conviction, the new era, dating politically from the fall of the Bastille; they, with glorious indifference to human things, are celebrating the festival of the sun, singing the happiness of existence, sounding the loud hosanna of the July heats.