Chapter V: Part 5

Now just in this way the waves of sound, in their manner of moving, cross and recross each other. You will remember too, that different sounds make waves of different lengths, just as the tide makes a long wave and the rain-drops tiny ones. Therefore each sound falls with its own peculiar wave upon your ear, and you can listen to that particular wave just as you look at one particular ripple, and then the sound becomes clear to you.

All this is what is going on outside your ear, but what is happening in your ear itself? How do these blows of the air speak to your brain? By means of the following diagram, Fig. 33, we will try to understand roughly our beautiful hearing instrument, the ear.

First, I want you to notice how beautifully the outside shell, or concha as it is called, is curbed round so that any movement of the air coming to it from the front is caught in it and reflected into the hole of the ear. Put your finger round your ear and feel how the gristly part is curved towards the front of your head. This concha makes a curve much like the curve a deaf man makes with his hand behind his ear to catch the sound. Animals often have to raise their ears to catch the sound well, but ours stand always ready. When the air-waves have passed in at the hole of your ear, they move all the air in the passage, which is called the auditory, or hearing, canal. This canal is lined with little hairs to keep out insects and dust, and the wax which collects in it serves the same purpose. But is too much wax collects, it prevents the air from playing well upon the drum, and therefore makes you deaf. Across the end of this canal, a membrane or skin called the tympanum is stretched, like the parchment over the head of a drum, and it is this membrane which moves to and fro as the air-waves strike on it. A violent box on the ear will sometimes break this delicate membrane, or injure it, and therefore it is very wrong to hit a person violently on the ear.

On the other side of this membrane, inside the ear, there is air, which fills the whole of the inner chamber and the tube, which runs down into the throat behind the nose, and is called the Eustachian tube after the man who discovered it. This tube is closed at the end by a valve which opens and shuts. If you breathe out strongly, and then shut your mouth and swallow, you will hear a little "click" in your ear. This is because in swallowing you draw the air out of the Eustachian tube and so draw in the membrane, which clicks as it goes back again. But unless you do this the tube and the whole chamber cavity behind the membrane remains full of air.

Now, as this membrane is driven to and fro by the sound-waves, it naturally shakes the air in the cavity behind it, and it also sets moving three most curious little bones. The first of the bones is fastened to the middle of the drumhead so that it moves to and fro every time this membrane quivers. The head of this bone fits into a hole in the next bone, the anvil, and is fastened to it by muscles, so as to drag it along with it; but, the muscles being elastic, it can draw back a little from the anvil, and so give it a blow each time it comes back. This anvil is in its turn very firmly fixed to the little bone, shaped like a stirrup, which you see at the end of the chain.

This stirrup rests upon a curious body which looks in the diagram like a snail-shell with tubes coming out of it. This body, which is called the labyrinth, is made of bone, but it has two little windows in it, one covered only by a membrane, while the other has the head of the stirrup resting upon it.

Now, with a little attention you will understand that when the air in the canal shakes the drumhead to and fro, this membrane must drag with it the hammer, the anvil, and the stirrup. Each time the drum goes in, the hammer will hit the anvil, and drive the stirrup against the little window; every time it goes out it will draw the hammer, the anvil, and the stirrup out again, ready for another blow. Thus the stirrup is always playing upon this little window. Meanwhile, inside the bony labyrinth there is a fluid like water, and along the little passages are very fine hairs, which wave to and fro like reeds; and whenever the stirrup hits at the little window, the fluid moves these hairs to and fro, and they irritate the ends of a nerve, and this nerve carries the message to your brain. There are also some curious little stones called otoliths, lying in some parts of this fluid, and they, by their rolling to and fro, probably keep up the motion and prolong the sound.

You must not imagine we have explained here the many intricacies which occur in the ear; I can only hope to give you a rough idea of it, so that you may picture to yourselves the air-waves moving backwards and forward in the canal of your ear, then the tympanum vibrating to and fro, the hammer hitting the anvil, the stirrup knocking at the little window, the fluid waving the fine hairs and rolling the tiny stones, the ends of the nerve quivering, and then (how we know not) the brain hearing the message.

Is not this wonderful, going on as it does at every sound you hear? And yet his is not all, for inside that curled part of the labyrinth, which looks like a snail-shell and is called the cochlea, there is a most wonderful apparatus of more than three thousand fine stretched filaments or threads, and these act like the strings of a harp, and make you hear different tones. If you go near to a harp or a piano, and sing any particular note very loudly, you will hear this note sounding in the instrument, because you will set just that particular string quivering, which gives the note you sang. The air-waves set going by your voice touch that string, because it can quiver in time with them, while none of the other strings can do so. Now, just in the same way the tiny instrument of three thousand strings in your ear, which is called Corti's organ, vibrates to the air-waves, one thread to one set of waves, and another to another, and according to the fibre that quivers, will be the sound you hear. Here then at last, we see how nature speaks to us. All the movements going on outside, however violent and varied they may be, cannot of themselves make sound. But here, in the little space behind the drum of our ear, the air-waves are sorted and sent on to our brain, where they speak to us as sound.

Week 18

But why then do we not hear all sounds as music? Why are some mere noise, and others clear musical notes? This depends entirely upon whether the sound-waves come quickly and regularly, or by an irregular succession of shocks. For example, when a load of stones is being shot out of a cart, you hear only a long, continuous noise, because the stones fall irregularly, some quicker, some slower, here a number together, and there two or three stragglers by themselves; each of these different shocks comes to your ear and makes a confused, noisy sound. But if you run a stick very quickly along a paling, you will hear a sound very like a musical not. This is because the rods of the paling are all at equal distances one from another, and so the shocks fall quickly one after another at regular intervals upon your ear. Any quick and regular succession of sounds makes a note, even though it may be an ugly one. The squeak of a slate pencil along a slate, and the shriek of a railway whistle are not pleasant, but they are real notes which you could copy on a violin.

I have here a simple apparatus which I have had made to show you that rapid and regular shocks produce a natural musical note. This wheel (Fig. 34) is milled at the edge like a shilling, and when I turn it rapidly so that it strikes against the edge of the card fixed behind it, the notches strike in rapid succession, and produce a musical sound. We can also prove by this experiment that the quicker the blows are, the higher the note will be. I pull the string gently at first, and then quicker and quicker, and you will notice that the note grows sharper and sharper, till the movement begins to slacken, when the note goes down again. This is because the more rapidly the air is hit, the shorter are the waves it makes, and short waves give a high note.

Let us examine this with two tuning-forks. I strike one, and it sounds D, the third space in the treble; I strike the other, and it sounds G, the first leger line, five notes above the C. I have drawn on this diagram (Fig. 35), an imaginary picture of these two sets of waves. You see that the G fork makes three waves, while the C fork makes only two. Why is this? Because the prong of the G fork moves three times backwards and forwards while the prong of the C fork only moves twice; therefore the G fork does not crowd so many atoms together before it draws back, and the waves are shorter. These two notes, C and G, are a fifth of an octave apart; if we had two forks, of which one went twice as fast as the other, making four waves while the other made two, then that note would be an octave higher.

So we see that all the sounds we hear, - the warning noises which keep us from harm, the beautiful musical notes with all the tunes and harmonies that delight us, even the power of hearing the voices of those we love, and learning from one another that which each can tell, - all these depend upon the invisible waves of air, even as the pleasures of light depend on the waves of ether. It is by these sound-waves that nature speaks to us, and in all her movements there is a reason why her boice is sharp or tender, loud or gentle, awful or loving. Take for instance the brook we spoke of at the beginning of the lecture. Why does it sing so sweetly, while the wide deep river makes no noise? Because the little brook eddies and purls round the stones, hitting them as it passes; sometimes the water falls down a large stone, and strikes against the water below; or sometimes it grates the little pebbles together as they lie in its bed. Each of these blows makes a small globe of sound-waves, which spread and spread till they fall on your ear, and because they fall quickly and regularly, they make a low, musical note. We might almost fancy that the brook wished to show how joyfully it flows along, recalling Shelley's beautiful lines:-

"Sometimes it fell
Among the moss with hollow harmony,
Dark and profound; now on the polished stones
It danced; like childhood laughing as it went."

The broad deep river, on the contrary, makes none of these cascades and commotions. The only places against which it rubs are the banks and the bottom; and here you can sometimes hear it grating the particles of sand against each other if you listen very carefully. But there is another reason why falling water makes a sound, and often even a loud roaring noise in the cataract and in the breaking waves of the sea. You do not only hear the water dashing against the rocky ledges or on the beach, you also hear the bursting of innumerable little bladders of air which are contained in the water. As each of these bladders is dashed on the ground, it explodes and sends sound-waves to your ear. Listen to the sea some day when the waves are high and stormy, and you cannot fail to be struck by the irregular bursts of sound.

The waves, however, do not only roar as they dash on the ground; have you never noticed how they seem to scream as they draw back down the beach? Tennyson calls it,

"The scream of the madden'd beach dragged down by the wave;" and it is caused by the stones grating against each other as the waves drag them down. Dr. Tyndall tells us that it is possible to know the size of the stones by the kind of noise they make. If they are large, it is a confused noise, when smaller, a kind of scream; while a gravelly beach will produce a mere hiss.

Who could be dull by the side of a brook, a waterfall, or the sea, while he can listen for sounds like these, and picture to himself how they are being made? You may discover a number of other causes of sound made by water, if you once pay attention to them.

Nor is it only water that sings to us. Listen to the wind, how sweetly it sighs among the leaves. There we hear it, because it rubs the leaves together, and they produce the sound-waves. But walk against the wind some day and you can hear it whistling in your own ear, striking against the curved cup, and then setting up a succession of waves in the hearing canal of the ear itself.

Why should it sound in one particular tone when all kinds of sound-waves must be surging about in the disturbed air?

This glass jar will answer our question roughly. If I strike my tuning-fork and hold it over the jar, you cannot hear it, because the sound is feeble, but if I fill the jar gently with water, when the water rises to a certain point you will hear a loud clear note, because the waves of air in the jar are exactly the right length to answer to the note of the fork. If I now blow across the mouth of the jar you hear the same note, showing that a cavity of a particular length will only sound to the waves which fit it. do you see now the reason why pan-pipes give different sounds, or even the hole at the end of a common key when you blow across it? Here is a subject you will find very interesting if you will read about it, for I can only just suggest it to you here. But now you will see that the canal of your ear also answers only to certain waves, and so the wind sings in your ear with a real if not a musical note.

Again, on a windy night have you not heard the wind sounding a wild, sad note down a valley? Why do you think it sounds so much louder and more musical here than when it is blowing across the plain? Because air in the valley will only answer to a certain set of waves, and, like the pan-pipe, gives a particular note as the wind blows across it, and these waves go up and down the valley in regular pulses, making a wild howl. You may hear the same in the chimney, or in the keyhole; all these are waves set up in the hole across which the wind blows. Even the music in the shell which you hold to your ear is made by the air in the shell pulsating to and fro. And how do you think it is set going? By the throbbing of the veins in your own ear, which causes the air in the shell to vibrate.

Another grand voice of nature is the thunder. People often have a vague idea that thunder is produced by the clouds knocking together, which is very absurd, if you remember that clouds are but water-dust. The most probable explanation of thunder is much more beautiful than this. You will remember from Lecture III that heat forces the air-atoms apart. Now, when a flash of lightning crosses the sky it suddenly expands the air all round it as it passes, so that globe after globe of sound-waves is formed at every point across which the lightning travels. Now light, you remember, travels so wonderfully rapidly (192,000 miles in a second) that a flash of lightning is seen by us and is over in a second, even when it is two or three miles long. But sound comes slowly, taking five seconds to travel half a mile, and so all the sound-waves at each point of the two or three miles fall on our ear one after the other, and make the rolling thunder. Sometimes the roll is made even longer by the echo, as the sound-waves are reflected to and fro by the clouds on their road; and in the mountains we know how the peals echo and re-echo till they die away.

We might fill up far more than an hour in speaking of those voices which come to us as nature is at work. Think of the patter of the rain, how each drop as it hits the pavement sends circles of sound-waves out on all sides; or the loud report which falls on the ear of the Alpine traveller as the glacier cracks on its way down the valley; or the mighty boom of the avalanche as the snow slides in huge masses off the side of the lofty mountain. Each and all of these create their sound-waves, large or small, loud or feeble, which make their way to your ear, and become converted into sound.

We have, however, only time now just to glance at life-sounds, of which there are so many around us. Do you know why we hear a buzzing, as the gnat, the bee, or the cockchafer fly past? Not by the beating of their wings against the air, as many people imagine, and as is really the case with humming birds, but by the scraping of the under-part of their hard wings against the edges of their hind legs, which are toothed like a saw. The more rapidly their wings move the stronger the grating sound becomes, and you will now see why in hot, thirsty weather the buzzing of the gnat is so loud, for the more thirsty and the more eager he becomes, the wilder his movements will be.

Some insects, like the drone-fly (Eristalis tenax), force the air through the tiny air-passages in their sides, and as these passages are closed by little plates, the plates vibrate to and fro and make sound-waves. Again, what are those curious sounds you may hear sometimes if you rest your head on a trunk in the forest? They are made by the timber-boring beetles, which saw the wood with their jaws and make a noise in the world, even though they have no voice.

All these life-sounds are made by creatures which do not sing or speak; but the sweetest sounds of all in the woods are the voices of the birds. All voice-sounds are made by two elastic bands or cushions, called vocal chords, stretched across the end of the tube or windpipe through which we breathe, and as we send the air through them we tighten or loosen them as we will, and so make them vibrate quickly or slowly and make sound-waves of different lengths. But if you will try some day in the woods you will find that a bird can beat you over and over again in the length of his note; when you are out of breath and forced to stop he will go on with his merry trill as fresh and clear as if he had only just begun. This is because birds can draw air into the whole of their body, and they have a large stock laid up in the folds of their windpipe, and besides this the air-chamber behind their elastic bands or vocal chords has two compartments where we have only one, and the second compartment has special muscles by which they can open and shut it, and so prolong the trill.

Only think what a rapid succession of waves must quiver through the air as a tiny lark agitates his little throat and pours forth a volume of song! The next time you are in the country in the spring, spend half an hour listening to him, and try and picture to yourself how that little being is moving all the atmosphere round him. Then dream for a little while about sound, what it is, how marvellously it works outside in the world, and inside in your ear and brain; and then, when you go back to work again, you will hardly deny that it is well worth while to listen sometimes to the voices of nature and ponder how it is that we hear them.

Week 19

LECTURE VII THE LIFE OF A PRIMROSE

When the dreary days of winter and the early damp days of spring are passing away, and the warm bright sunshine has begun to pour down upon the grassy paths of the wood, who does not love to go out and bring home posies of violets, and bluebells, and primroses? We wander from one plant to another picking a flower here and a bud there, as they nestle among the green leaves, and we make our rooms sweet and gay with the tender and lovely blossoms. But tell me, did you ever stop to think, as you added flower after flower to your nosegay, how the plants which bear them have been building up their green leaves and their fragile buds during the last few weeks? If you had visited the same spot a month before, a few (of) last year's leaves, withered and dead, would have been all that you would have found. And now the whole wood is carpeted with delicate green leaves, with nodding bluebells, and pale-yellow primroses, as if a fairy had touched the ground and covered it with fresh young life. And our fairies have been at work here; the fairy "Life," of whom we know so little, though we love her so well and rejoice in the beautiful forms she can produce; the fairy sunbeams with their invisible influence kissing the tiny shoots and warming them into vigour and activity; the gentle rain-drops, the balmy air, all these have been working, while you or I passed heedlessly by; and now we come and gather the flowers they have made, and too often forget to wonder how these lovely forms have sprung up around us.

Our work during the next hour will be to consider this question. You were asked last week to bring with you to-day a primrose- flower, or a whole plant if possible, in order the better to follow out with me the "Life of a Primrose." (To enjoy this lecture, the reader ought to have, if possible, a primrose- flower, an almond soaked for a few minutes in hot water, and a piece of orange.) This is a very different kind of subject from those of our former lectures. There we took world- wide histories; we travelled up to the sun, or round the earth, or into the air; now I only ask you to fix your attention on one little plant, and inquire into its history.

There is a beautiful little poem by Tennyson, which says -

"Flower in the crannied wall,
I pluck you out of the crannies;
Hold you here, root and all, in my hand,
Little flower; but if I could understand
What you are, root and all, and all in all,
I should know what God and man is."

We cannot learn all about this little flower, but we can learn enough to understand that it has a real separate life of its own, well worth knowing. For a plant is born, breathes, sleeps, feeds, and digests just as truly as an animal does, though in a different way. It works hard both for itself to get its food, and for others in making the air pure and fit for animals to breathe. It often lays by provision for the winter. It sends young plants out, as parents send their children, to fight for themselves in the world; and then, after living sometimes to a good old age, it dies, and leaves its place to others.

We will try to follow out something of this life to-day; and first, we will begin with the seed.

I have here a packet of primrose-seeds, but they are so small that we cannot examine them; so I have also had given to each one of you an almond-kernel, which is the seed of the almond- tree, and which has been soaked, so that it splits in half easily. From this we can learn about seeds in general, and then apply it to the primrose.

If you peel the two skins off your almond-seed (the thick, brown, outside skin, and the thin, transparent one under it), the two halves of the almond will slip apart quite easily. One of these halves will have a small dent at the pointed end, while in the other half you will see a little lump, which fitted into the dent when the two halves were joined. This little lump (a b, Fig. 37) is a young plant, and the two halves of the almond are the seed leaves which hold the plantlet, and feed it till it can feed itself. The rounded end of the plantlet (b) sticking out of the almond, is the beginning of the root, while the other end (a) will in time become the stem. If you look carefully, you will see two little points at this end, which are the tips of future leaves. Only think how minute this plantlet must be in a primrose, where the whole seed is scarcely larger than a grain of sand! Yet in this tiny plantlet lies hid the life of the future plant.

When a seed falls into the ground, so long as the earth is cold and dry, it lies like a person in a trance, as if it were dead; but as soon as the warm, damp spring comes, and the busy little sun-waves pierce down into the earth, they wake up the plantlet and make it bestir itself. They agitate to and fro the particles of matter in this tiny body, and cause them to seek out for other particles to seize and join to themselves.

But these new particles cannot come in at the roots, for the seed has none; nor through the leaves, for they have not yet grown up; and so the plantlet begins by helping itself to the store of food laid up in the thick seed-leaves in which it is buried. Here it finds starch, oils, sugar, and substances called albuminoids, -- the sticky matter which you notice in wheat-grains when you chew them is one of the albuminoids. This food is all ready for the plantlet to use, and it sucks it in, and works itself into a young plant with tiny roots at one end, and a growing shoot, with leaves, at the other.

But how does it grow? What makes it become larger? To answer this you must look at the second thing I asked you to bring - a piece of orange. If you take the skin off a piece of orange, you will see inside a number of long-shaped transparent bags, full of juice. These we call cells, and the flesh of all plants and animals is made up of cells like these, only of various shapes. In the pith of elder they are round, large, and easily seen (a, Fig. 39); in the stalks of plants they are long, and lap over each other (b, Fig. 39), so as to give the stalk strength to stand upright. Sometimes many cells growing one on the top of the other break into one tube and make vessels. But whether large or small, they are all bags growing one against the other.

In the orange-pulp these cells contain only sweet juice, but in other parts of the orange-tree or any other plant they contain a sticky substance with little grains in it. This substance is called "protoplasm," or the first form of life, for it is alive and active, and under a microscope you may see in a living plant streams of the little grains moving about in the cells.

Now we are prepared to explain how our plant grows. Imagine the tiny primrose plantlet to be made up of cells filled with active living protoplasm, which drinks in starch and other food from the seed-leaves. In this way each cell will grow too full for its skin, and then the protoplasm divides into two parts and builds up a wall between them, and so one cell becomes two. Each of these two cells again breaks up into two more, and so the plant grows larger and larger, till by the time it has used up all the food in the seed-leaves, it has sent roots covered with fine hairs downwards into the earth, and a shoot with beginnings of leaves up into the air.

Sometimes the seed-leaves themselves come above the ground, as in the mustard-plant, and sometimes they are left empty behind, while the plantlet shoots through them.

And now the plant can no longer afford to be idle and live on prepared food. It must work for itself. Until now it has been taking in the same kind of food that you and I do; for we too find many seeds very pleasant to eat and useful to nourish us. But now this store is exhausted. Upon what then is the plant to live? It is cleverer than we are in this, for while we cannot live unless we have food which has once been alive, plants can feed upon gases and water and mineral matter only. Think over the substances you can eat or drink, and you will find they are nearly all made of things which have been alive: meat, vegetables, bread, beer, wine, milk; all these are made from living matter, and though you do take in such things as water and salt, and even iron and phosphorus, these would be quite useless if you did not eat and drink prepared food which your body can work into living matter.

But the plant as soon as it has roots and leaves begins to make living matter out of matter that has never been alive. Through all the little hairs of its roots it sucks in water, and in this water are dissolved more or less of the salts of ammonia, phosphorus, sulphur, iron, lime, magnesia, and even silica, or flint. In all kinds of earth there is some iron, and we shall see presently that this is very important to the plant.

Suppose, then, that our primrose has begun to drink in water at its roots. How is it to get this water up into the stem and leaves, seeing that the whole plant is made of closed bags or cells? It does it in a very curious way, which you can prove for yourselves. Whenever two fluids, one thicker than the other, such as treacle and water for example, are only separated by a skin or any porous substance, they will always mix, the thinner one oozing through the skin into the thicker one. If you tie a piece of bladder over a glass tube, fill the tube half-full of treacle, and then let the covered end rest in a bottle of water, in a few hours the water will get in to the treacle and the mixture will rise up in the tube till it flows over the top. Now, the saps and juices of plants are thicker than water, so, directly the water enters the cells at the root it oozes up into the cells above, and mixes with the sap. Then the matter in those cells becomes thinner than in the cells above, so it too oozes up, and in this way cell by cell the water is pumped up into the leaves.

When it gets there it finds our old friends the sun-beams hard at work. If you have ever tried to grow a plant in a cellar, you will know that in the dark its leaves remain white and sickly. It is only in the sunlight that a beautiful delicate green tint is given to them, and you will remember from Lecture II. that this green tint shows that the leaf has used all the sun-waves except those which make you see green; but why should it do this only when it has grown up in the sunshine?

The reason is this: when the sunbeam darts into the leaf and sets all its particles quivering, it divides the protoplasm into two kinds, collected into different cells. One of these remains white, but the other kind, near the surface, is altered by the sunlight and by the help of the iron brought in by the water. This particular kind of protoplasm, which is called "chlorophyll," will have nothing to do with the green waves and throws them back, so that every little grain of this protoplasm looks green and gives the leaf its green colour.

It is these little green cells that by the help of the sun-waves digest the food of the plant and turn the water and gases into useful sap and juices. We saw in Lecture III. that when we breathe-in air, we use up the oxygen in it and send back out of our mouths carbonic acid, which is a gas made of oxygen and carbon.

Now, every living things wants carbon to feed upon, but plants cannot take it in by itself, because carbon is solid (the blacklead in your pencils is pure carbon), and a plant cannot eat, it can only drink-in fluids and gases. Here the little green cells help it out of its difficulty. They take in or absorb out of the air carbonic acid gas which we have given out of our mouths and then by the help of the sun-waves they tear the carbon and oxygen apart. Most of the oxygen they throw back into the air for us to use, but the carbon they keep.

If you will take some fresh laurel-leaves and put them into a tumbler of water turned upside-down in a saucer of water, and set the tumbler in the sunshine, you will soon see little bright bubbles rising up and clinging to the glass. These are bubbles of oxygen gas, and they tell you that they have been set free by the green cells which have torn from them the carbon of the carbonic acid in the water.

But what becomes of the carbon? And what use is made of the water which we have kept waiting all this time in the leaves? Water, you already know, is made of hydrogen and oxygen, but perhaps you will be surprised when I tell you that starch, sugar, and oil, which we get from plants, are nothing more than hydrogen and oxygen in different quantities joined to carbon.

It is very difficult at first to picture such a black thing as carbon making part of delicate leaves and beautiful flowers, and still more of pure white sugar. But we can make an experiment by which we can draw the hydrogen and oxygen out of common loaf sugar, and then you will see the carbon stand out in all its blackness. I have here a plate with a heap of white sugar in it. I pour upon it first some hot water to melt and warm it, and then some strong sulphuric acid. This acid does nothing more than simply draw the hydrogen and oxygen out. See! in a few moments a black mass of carbon begins to rise, all of which has come out of the white sugar you saw just now. *(The common dilute sulphuric acid of commerce is not strong enough for this experiment, but pure sulphuric acid can be secured from any chemist. Great care must be taken in using it, as it burns everything it touches.) You see, then, that from the whitest substance in plants we can get this black carbon; and in truth, one-half of the dry part of every plant is composed of it.

Now look at my plant again, and tell me if we have not already found a curious history? Fancy that you see the water creeping in at the roots, oozing up from cell to cell till it reaches the leaves, and there meeting the carbon which has just come out of the air, and being worked up with it by the sun-waves into starch, or sugar, or oils.

But meanwhile, how is new protoplasm to be formed? for without this active substance none of the work can go on. Here comes into use a lazy gas we spoke of in Lecture III. There we thought that nitrogen was of no use except to float oxygen in the air, but here we shall find it very useful. So far, as we know, plants cannot take up nitrogen out of the air, but they can get it out of the ammonia which the water brings in at their roots.

Ammonia, you will remember, is a strong-smelling gas, made of hydrogen and nitrogen, and which is often almost stifling near a manure-heap. When you manure a plant you help it to get this ammonia, but at any time it gets some from the soil and also from the rain-drops which bring it down in the air. Out of this ammonia the plant takes the nitrogen and works it up with the three elements, carbon, oxygen, and hydrogen, to make the substances called albuminoids, which form a large part of the food of the plant, and it is these albuminoids which go to make protoplasm. You will notice that while the starch and other substances are only made of three elements, the active protoplasm is made of these three added to a fourth, nitrogen, and it also contains phosphorus and sulphur.

And so hour after hour and day after day our primrose goes on pumping up water and ammonia from its roots to its leaves, drinking in carbonic acid from the air, and using the sun-waves to work them all up into food to be sent to all parts of its body. In this way these leaves act, you see, as the stomach of the plant, and digest its food.

Sometimes more water is drawn up into the leaves than can be used, and then the leaf opens thousands of little mouths in the skin of its under surface, which let the drops out just as drops of perspiration ooze through our skin when we are overheated. These little mouths, which are called stomates (a, Fig. 42) are made of two flattened cells, fitting against each other. When the air is damp and the plant has too much water these lie open and let it out, but when the air is dry, and the plant wants to keep as much water as it can, then they are closely shut. There are as many as a hundred thousand of these mouths under one apple-leaf, so you may imagine how small they often are.

Plants which only live one year, such as mignonette, the sweet pea, and the poppy, take in just enough food to supply their daily wants and to make the seeds we shall speak of presently. Then, as soon as their seeds are ripe their roots begin to shrivel, and water is no longer carried up. The green cells can no longer get food to digest, and they themselves are broken up by the sunbeams and turn yellow, and the plant dies.

But many plants are more industrious than the stock and mignonette, and lay by store for another year, and our primrose is one of these. Look at this thick solid mass below the primrose leaves, out of which the roots spring. (See the plant in the foreground of the heading of the lecture.) This is really the stem of the primrose hidden underground, and all the starch, albuminoids, &c., which the plant can spare as it grows, are sent down into this underground stem and stored up there, to lie quietly in the ground through the long winter, and then when the warm spring comes this stem begins to send out leaves for a new plant.

Week 21

We have now seen how a plant springs up, feeds itself, grows, stores up food, withers, and dies; but we have said nothing yet about its beautiful flowers or how it forms its seeds. If we look down close to the bottom of the leaves in a primrose root in spring-time, we shall always find three or four little green buds nestling in among the leaves, and day by day we may see the stalk of these buds lengthening till they reach up into the open sunshine, and then the flower opens and shows its beautiful pale- yellow crown.

We all know that seeds are formed in the flower, and that the seeds are necessary to grow into new plants. But do we know the history of how they are formed, or what is the use of the different parts of the bud? Let us examine them all, and then I think you will agree with me that this is not the least wonderful part of the plant.

Remember that the seed is the one important thing and then notice how the flower protects it. First, look at the outside green covering, which we call the calyx. See how closely it fits in the bud, so that no insects can creep in to gnaw the flower, nor any harm come to it from cold or blight. Then, when the calyx opens, notice that the yellow leaves which form the crown or corolla, are each alternate with one of the calyx leaves, so that anything which got past the first covering would be stopped by the second. Lastly, when the delicate corolla has opened out, look at those curious yellow bags just at the top of the tube (b,2, Fig. 43). What is their use?

But I fancy I see two or three little questioning faces which seem to say, "I see no yellow bags at the top of the tube." Well, I cannot tell whether you can or not in the specimen you have in your hand; for one of the most curious things about primrose flowers is, that some of them have these yellow bags at the top of the tube and some of them hidden down right in the middle. But this I can tell you:those of you who have got no yellow bags at the top will have a round knob there (I a, Fig. 43), and will find the yellow bags (b) buried in the tube. Those, on the other hand, who have the yellow bags (2 b, Fig. 43) at the top will find the knob (a) half-way down the tube.

Now for the use of these yellow bags, which are called the anthers of the stamens, the stalk on which they grow being called the filament or thread. If you can manage to split them open you will find that they have a yellow powder in them, called pollen, the same as the powder which sticks to your nose when you put it into a lily; and if you look with a magnifying glass at the little green knob in the centre of the flower, you will probably see some of this yellow dust sticking on it (A, Fig. 43). We will leave it there for a time, and examine the body called the pistil, to which the knob belongs. Pull off the yellow corolla (which will come off quite easily), and turn back the green leaves. You will then see that the knob stands on the top of a column, and at the bottom of this column there is a round ball (s v), which is a vessel for holding the seeds. In this diagram (A, Fig. 43) I have drawn the whole of this curious ball and column as if cut in half, so that we may see what is in it. In the middle of the ball, in a cluster, there are a number of round transparent little bodies, looking something like round green orange-cells full of juice. They are really cells full of protoplasm, with one little dark spot in each of them, which by-and-by is to make our little plantlet that we found in the seed.

"These, then, are seeds," you will say. Not yet; they are only ovules, or little bodies which may become seeds. If they were left as they are they would all wither and die. But those little grains of pollen, which we saw sticking to the knob at the top, are coming down to help them. As soon as these yellow grains touch the sticky knob or stigma, as it is called, they throw out tubes, which grow down the column until they reach the ovules. In each one of these they find a tiny hole, and into this they creep, and then they pour into the ovule all the protoplasm from the pollen-grain which is sticking above, and this enables it to grow into a real seed, with a tiny plantlet inside.

This is how the plant forms its seed to bring up new little ones next year, while the leaves and the roots are at work preparing the necessary food. Think sometimes when you walk in the woods, how hard at work the little plants and big trees are, all around you. You breathe in the nice fresh oxygen they have been throwing out, and little think that it is they who are making the country so fresh and pleasant, and that while they look as if they were doing nothing but enjoying the bright sunshine, they are really fulfilling their part in the world by the help of this sunshine; earning their food from the ground working it up; turning their leaves where they can best get light (and in this it is chiefly the violet sun-waves that help them), growing, even at night, by making new cells out of the food they have taken in the day; storing up for the winter; putting out their flowers and making their seeds, and all the while smiling so pleasantly in quiet nooks and sunny dells that it makes us glad to see them.

But why should the primroses have such golden crowns? plain green ones would protect the seed quite as well. Ah! now we come to a secret well worth knowing. Look at the two primrose flowers, 1 and 2, Fig. 43, p. 163, and tell me how you think the dust gets on to the top of the sticky knob or stigma. No. 2 seems easy enough to explain, for it looks as if the pollen could fall down easily from the stamens on to the knob, but it cannot fall up, as it would have to do in No. 1. Now the curious truth is, as Mr. Darwin has shown, that neither of these flowers can get the dust easily for themselves, but of the two No. 1 has the least difficulty.

Look at a withered primrose, and see how it holds its head down, and after a little while the yellow crown falls off. It is just about as it is falling that the anthers or bags of stamens burst open, and then, in No. 1 (Fig. 44), they are dragged over the knob and some of the grains stick there. But in the other form of primrose, No. 2, when the flower falls off, the stamens do not come near the knob, so it has no chance of getting any pollen; and while the primrose is upright the tube is so narrow that the dust does not easily fall. But, as I have said, neither kind gets it very easily, nor is it good for them if they do. The seeds are much stronger and better if the dust or pollen of one flower is carried away and left on the knob or stigma of another flower; and the only way this can be done is by insects flying from one flower to another and carrying the dust on their legs and bodies.

If you suck the end of the tube of the primrose flower you will find it tastes sweet, because a drop of honey has been lying there. When the insects go in to get this honey, they brush themselves against the yellow dust-bags, and some of the dust sticks to them, and then when they go to the next flower they rub it off on to its sticky knob.

Look at No. 1 and No. 2 (Fig. 43) and you will see at once that if an insect goes into No. 1 and the pollen sticks to him, when he goes into No. 2 just that part of his body on which the pollen is will touch the knob; and so the flowers become what we call "crossed," that is, the pollen-dust of the one feeds the ovule of the other. And just the same thing will happen if he flies from No. 2 to No. 1. There the dust will be just in the position to touch the knob which sticks out of the flower.

Therefore, we can see clearly that it is good for the primrose that bees and other insects should come to it, and anything it can do to entice them will be useful. Now, do you not think that when an insect once knew that the pale-yellow crown showed where honey was to be found, he would soon spy these crowns out as he flew along? or if they were behind a hedge, and he could not see them, would not the sweet scent tell him where to come and look for them? And so we see that the pretty sweet-scented corolla is not only delightful for us to look at and to smell, but it is really very useful in helping the primrose to make strong healthy seeds out of which the young plants are to grow next year.

And now let us see what we have learnt. We began with a tiny seed, though we did not then know how this seed had been made. We saw the plantlet buried in it, and learnt how it fed at first on prepared food, but soon began to make living matter for itself out of gases taken from the water through the cells to its stomach - the leaves! And how marvellously the sun-waves entering there formed the little green granules, and then helped them to make food and living protoplasm! At this point we might have gone further, and studied how the fibres and all the different vessels of the plant are formed, and a wondrous history it would have been. But it was too long for one hour's lecture, and you must read it for yourselves in books on botany. We had to pass on to the flower, and learn the use of the covering leaves, the gaily coloured crown attracting the insects, the dust-bags holding the pollen, the little ovules each with the germ of a new plantlet, lying hidden in the seed- vessel, waiting for the pollen-grains to grow down to them. Lastly, when the pollen crept in at the tiny opening we learnt that the ovule had now all it wanted to grow into a perfect seed.

And so we came back to a primrose seed, the point from which we started; and we have a history of our primrose from its birth to the day when its leaves and flowers wither away and it dies down for the winter.

But what fairies are they which have been at work here? First, the busy little fairy Life in the active protoplasm; and secondly, the sun-waves. We have seen that it was by the help of the sunbeams that the green granules were made, and the water, carbonic acid, and nitrogen worked up into the living plant. And in doing this work the sun-waves were caught and their strength used up, so that they could no longer quiver back into space. But are they gone for ever? So long as the leaves or the stem or the root of the plant remain they are gone, but when those are destroyed we can get them back again. Take a handful of dry withered plants and light them with a match, then as the leaves burn and are turned back again to carbonic acid, nitrogen, and water, our sunbeams come back again in the flame and heat.