British Butterflies (Coleman)/CHAPTER III

CHAPTER III.

 * WHAT BUTTERFLIES NEVER DO—GROUNDLESS TERROR—A MISTAKE—USES OF BUTTERFLIES—MORAL OF BUTTERFLY LIFE—PSYCHE—THE BUTTERFLY AN EMBLEM OF THE SOUL—THE ARTIST AND THE BUTTERFLY.

Among the negative attributes of butterflies, I may state positively, that no butterfly whatever can either sting or bite in the least degree; and from their total harmlessness towards the person of man, conjoined with their outward attractiveness, they merit and enjoy an exemption from those feelings of dread and disgust that attach to many, or, I may say, to almost all other tribes of insects; even to their equally harmless near relatives the larger moths. At least, it has never been my misfortune to meet with a person weak-minded enough to be afraid of a butterfly, though I have seen some exhibit symptoms of the greatest terror at the proximity of a large Hawk-moth, and some of the thick-bodied common moths—"Match-owlets," the country folk call them.

Once, also, I listened to the grave recital—by a classical scholar too—of a murderous onslaught made by a Privet Hawk-moth on the neck of a lady, and how it "bit a piece clean out." Of course I attempted to prove, by what seemed to me very fair logic, that the moth, having neither teeth nor even any mouth capable of opening, but only a weak hollow tongue to suck honey through, was utterly incapable of biting or inflicting any wound whatever. But, as is usual in such cases, my entomological theory went for nothing in face of the gentleman's knock-down battery of facts—ocular facts; he had seen the moth, and he had seen the wound: surely, there was proof enough for me, or any one else. So, I suppose, he steadfastly believes to this day, that the moth was a truculent, bloodthirsty monster; whilst I still presume to believe, that if any wound was caused at the moment in question, it was by the nails of the lady attacked, or her friends, in clutching frantically at the terrific intruder; who, poor fellow, might have been pardoned for mistaking the fair neck for one of his favourite flowers (a lily, perhaps), while the utmost harm he contemplated was to pilfer a sip of nectar from the lips he doubtless took for rosebuds.

Utilitarians may, perhaps, inquire the uses of butterflies—what they do, make, or can be sold for; and I must confess that my little favourites neither make anything to wear, like the silkworm, nor anything to eat, like the honey-bee, nor are their bodies saleable by the ton, like the cochineal insects, and that, commercially speaking, they are just worth nothing at all, excepting the few paltry pence or shillings that the dealer gets for their little dried bodies occasionally; so they are of no more use than poetry, painting, and music—than flowers, rainbows, and all such unbusinesslike things. In fact, I have nothing to say in the butterfly's favour, except that it is a joy to the deep-minded and to the simple-hearted, to the sage, and, still better, to the child—that it gives an earnest of a better world, not vaguely and generally, as does every "thing of beauty," but with clearest aim and purpose, through one of the most strikingly perfect and beautiful analogies that we can find throughout that vast Creation, where—


 * "All animals are living hieroglyphs."

The butterfly, then, in its own progressive stages of caterpillar, chrysalis, and perfect insect, is an emblem of the human soul's progress through earthly life and death, to heavenly life.

Even the ancient Greeks, with their imperfect lights, recognised this truth, when they gave the same name, Psyche, to the soul, or spirit of life, and to the butterfly, and sculptured over the effigy of one dead the figure of a butterfly, floating away, as it were, in his breath; while poets of all nations have since followed up the simile.

And this analogy is not only a mere general resemblance, but holds good through its minute details to a marvellous extent; to trace which fully would require volumes, while in this place the slightest sketch only can be given.

First, there is the grovelling caterpillar-state, emblematical of our present imperfection, but yet the state of preparation and increase towards perfection, and that, too, which largely influences the future existence.

Many troubles and changes are the lot of the caterpillar. Repeated skin-shiftings and ceaseless industry in his vocation are necessary, that within his set time he may attain full growth and vigour.

Then comes a mighty change: the caterpillar is to exchange his worm-like form and nature for an existence unspeakably higher and better. But, as we have seen, to arrive at this glory there is only one condition, which is, that the creature must pass through another, and, as it might seem, a gloomy state—one anything but cheerful to contemplate; for it must cease to eat, to move, and—to the eye—to live. Yet, is it really dead now, or do we, who have watched the creature thus far, despair and call it lost? Do we not rather rejoice that it rests from its labours, and that the period of its glorification is at hand?

In the silent chrysalis state then our Psyche sleeps away awhile, unaffected by the vicissitudes around it; and, at last, when its appointed day arrives, bursts from its cerements, and rises in the air a winged and joyous being, to meet the sun which warmed it into new life. Now it is a butterfly,—bright emblem of pleasure unalloyed.

This happy consummation, however, is only for the chrysalis which has not within it the devouring worm, the fruit of the ichneumon's egg, harboured during the caterpillar state—and emblem, in the human soul, of some deadly sin yielded to during life, and which afterwards becomes the gnawing "worm that dieth not." For in this case, instead of the bright butterfly, there issues forth from the chrysalis-shell only a swarm of black, ill-favoured flies, like a troop of evil spirits coming from their feast on a fallen soul.

If a caterpillar were gifted with a foreknowledge of his butterfly future, so far transcending his inglorious present, we could imagine that he would be only impatient to get through his caterpillar duties, and rejoice to enter the chrysalis state as soon as he was fitted for it. How short-sighted then would a caterpillar appear who should endeavour, while in that shape, to emulate the splendour of the butterfly by some wretched temporary substitute, adding a few more, or brighter stripes than nature had given it; or, again, if one whose great change was drawing near, should attempt to conceal its visible approach by painting over the fading hues of health, and plastering up the wrinkles of its outward covering, so soon to be thrown off altogether; instead of striving for inward strength and beauty, which would never decline, but be infinitely expanded in the butterfly—and regarding the earthly beauty's wane as the dawn of the celestial.

With these and similar reflections before us (which might be multiplied ad infinitum), we shall no longer look upon the caterpillar as a mere unsightly and troublesome reptile, the chrysalis as an unintelligible curiosity, and the butterfly as a pretty painted thing and nothing more; but regard them as together forming one of those beautiful and striking illustrations with which the book of Nature has been so profusely enriched by its ; not to be taken as substitutes for His revealed Word, but as harmonious adjuncts, bringing its great truths more home to our understandings, just as the engravings in a book are not designed as substitutes for the text, but to elucidate and strengthen the ideas in the reader's mind.

While the poet draws from the butterfly many a pleasant similitude, and the moralist many a solemn teaching, the artist (who should be poet and moralist too) dwells upon these beings with fondest delight, finding in them images of joy and life when seen at large in the landscape, and rich stores of colour-lessons when studied at home in the cabinet.

The owners of many a name great in the arts have been enthusiastic collectors of butterflies. Our distinguished countryman, Thomas Stothard, was one of their devotees, and the following anecdote, extracted from his published life, shows how he was led to make them his special study:—

"He was beginning to paint the figure of a reclining sylph, when a difficulty arose in his own mind how best to represent such a being of fancy. A friend who was present said, 'Give the sylph a butterfly's wing, and then you have it.' 'That I will,' exclaimed Stothard; 'and to be correct I will paint the wing from the butterfly itself.' He sallied forth, extended his walk to the fields, some miles distant, and caught one of those beautiful insects; it was of the species called the Peacock. Our artist brought it carefully home, and commenced sketching it, but not in the painting room; and leaving it on the table, a servant swept the pretty little creature away, before its portrait was finished. On learning his loss, away went Stothard once more to the fields to seek another butterfly. But at this time one of the tortoise-shell tribe crossed his path, and was secured. He was astonished at the combination of colour that presented itself to him in this small but exquisite work of the Creator, and from that moment determined to enter on a new and difficult field—the study of the insect department of Natural History. He became a hunter of butterflies. The more he caught, the greater beauty did he trace in their infinite variety, and he would often say that no one knew what he owed to these insects—they had taught him the finest combinations in that difficult branch of art—colouring."

The above doubtless has its parallel in the experience of many artistic minds, whose very nature it is to appreciate to the full the perfections set forth in a butterfly, admiring—


 * "The velvet nap which on his wings doth lie,
 * The silken down with which his back is dight,
 * His broad outstretched horns, his airy thigh,
 * His glorious colours and his glistening eye."