Creatures of the Night: A Book of Wild Life in Western Britain — Background and Themes

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In Category - Animals
Rees, Alfred Wellesley, 1872-1917 Project Gutenberg 2009 Not confirmed
Animal behavior; Animals -- Anecdotes Readers of public-domain and historical texts
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Edition facts

Words 85,558
Reading time 372 min
Text sections 11

The catalog record for Creatures of the Night: A Book of Wild Life in Western Britain — Background and Themes provides practical reading context through 85,558 words, 6 hr 12 min estimated reading time, and 11 detected text sections.

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An editorial note on Alfred W. Rees's 'Creatures of the Night,' focusing on the author's precise natural history observations, the interplay of predator and prey knowledge, and the rhythmic shifts between patient description and sudden action in the prose.
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Editorial Edition Score 4.8/5

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Lutra was never disconcerted by the fact that the fish were strong and active; as with all carnivorous creatures, her sporting instincts were so highly developed that she revelled in overcoming difficulties, especially because she felt her own strength growing from day to day. During winter the trout had fed on worms and "sundries." Now, their best and heartiest meals were of flies. Daily, at noon, swarms of ephemerals played over the water, and the trout rose from the river-bed to feed. At first they "sported" ravenously, rising quick and sure to any insect their marvellous vision might discern. Afterwards they fed daintily, disabling and drowning with a flip of the tail many an insect that fluttered at the surface, and choosing from their various victims some unusually tasty morsel, such as a female "February red" about to lay her eggs. At this time, also, the plump, cream-coloured larvæ of the stone-fly in the shallows were growing within their well cemented caddis-cases and preparing for maturity. So the trout fattened on caddis-grubs and flies, and the otter-cub, in corresponding measure, became sleek, well-grown, and spirited.

In the winter Lutra had imperceptibly acquired the habit of swimming and diving across-stream, just as an old fox, when hunting in the woods, quarters his ground systematically across-wind, and so detects the slightest scent that may be wafted on the breeze. Nature had been specially kind to her; she was fashioned perfectly, and in the river reigned supreme. Her body was long, supple, and tapering; her brown fur was close and short, so that the water never penetrated to her skin and her movements were not retarded as they would have been had she possessed the loose, draggling coat of an otter-hound. She seemed to glide with extraordinary facility even against a rapid current. Her skin was so tough that on one occasion when, by accident, she was carried down a raging rapid and thrown against a jagged rock, a slight bruise was the only result. Her legs were short and powerful, her toes webbed, and her tail served the purpose of a rudder. Nostrils, eyes, and ears--all were small and water-tight, and set so high on the skull that, when she rose to breathe, little more than a speck could be seen on the surface, unless she felt it safe to raise her head and body further for the sake of ease in plunging deep.

When Lutra was nine months old she caught her first salmon; and, though the fish was only a small "kelt," returning, weak from spawning, to the sea, the capture was a fair test of the cub's prowess and daring. It happened thus. She was walking up the river-bed one boisterous night, when she saw a dark form hovering close to the surface in the middle of a deep pool. Her eyes, peculiarly fitted for watching objects immediately above, quickly detected the almost motionless fish. The eyes of the salmon were also formed for looking upwards, and so Lutra remained unnoticed by her prey. She stole around the hovering fish, that the bubbles caused by her breathing might make no noticeable disturbance as they rose to the surface, and then, having judged to a nicety the strength of the stream, paddled with almost imperceptible motion towards the salmon. Before the fish had time to flee it was caught in Lutra's vice-like jaws and borne, struggling desperately and threshing the water into foam, to the bank. There the otter-cub killed her victim by severing the vertebræ immediately behind its gills.

Otters well nigh invariably destroy large-sized fish by attacking them in this particular part. And, according to a similar method, stoats and polecats, whenever possible, seize their victims near the base of the brain. In yet another way Lutra proved her relationship to the weasel tribe: just as our miniature land-otters eat only small portions of the rabbits they kill, so the cub was content with a juicy morsel behind the salmon's head--a morsel known among sportsmen as "the otter's bite."

Soon after the cub had killed her first salmon she separated from her parents and brothers, travelled far down-river, and wandered alone. In the human character, development becomes especially marked directly independence of action is assumed; henceforward parental guidance counts for comparatively little. And so it was with Lutra.

THE POOL BENEATH THE FARMSTEAD.

Alfred W. Rees opens his study of nocturnal wildlife with a deliberate, sensory immersion: a summer night, river voices, and the careful habits of an otter mother. The prose moves with the same unhurried patience it describes, noting how the otter's 'oven' is hidden among alders and how her cubs learn through watchful play. Rees builds a world where every rustle and shadow carries meaning, and where the observer's stillness is rewarded with glimpses of a hidden order.

Voice and the Weight of Observation

Rees writes in a measured, almost documentary tone, yet his sentences often carry a quiet lyricism. He describes the otter's holt as 'the holt among the alders' and notes 'the broad river, in which she had spent her early life'—phrases that anchor the animal in a specific, named landscape. The narrative voice is that of a naturalist who has spent long hours in the field, and it shows in the accumulation of small, precise details: the dabchick's 'oar-like wings,' the 'hoar-fringed river-banks,' the way a vixen 'eagerly thrust a fore-paw into the crannies of any old wall.' These observations are not merely decorative; they build a texture of lived experience. The author rarely editorializes, letting the behavior of the creatures speak for itself, which gives the writing a quiet authority.

Shared Knowledge Between Predators

One of the most striking passages in the excerpts describes the reciprocal education of a fox and a vixen. The fox teaches her 'how to steal away from the covert along the rough, rarely trodden paths' to baffle hounds, while she teaches him to chase sheep across stubbles to mask his scent. Rees presents this not as anthropomorphic fantasy but as a practical exchange of survival tactics, grounded in the animals' different experiences. The passage is structured as a series of paired lessons, each introduced by 'He taught her' or 'She taught him,' creating a rhythm that mirrors the back-and-forth of their partnership. The detail that the fox 'bristled with rage whenever he crossed the track of a weasel' but never pursued it, while the vixen recognized weasels as rivals, shows Rees's attention to individual temperament and learned behavior.

Pace and the Sudden Shift

Rees's prose often moves at a deliberate, observational pace, but it can shift abruptly into moments of tension or action. In the fox passage, the calm description of the vixen's snail-hunting is interrupted by a memory of Vulp's encounter with a polecat: 'Vulp, since his adventure with the polecat, bristled with rage whenever he crossed the track of a weasel.' The shift is sudden, almost jarring, and it reveals the violence that underlies the quiet surface of the natural world. Similarly, the opening description of the otter's holt gives way to a swollen river and 'mysterious proceedings' that hint at danger. These changes in pace keep the reader alert, reminding us that the night is never truly still. Rees uses them sparingly, which makes each one count.

Readers will find that Rees's book rewards a slow, attentive approach. The chapters are best taken one at a time, allowing the details of each animal's habits to settle. Pay attention to the small shifts in tone—the moments when the prose tightens or the rhythm changes—for they often signal a deeper layer of meaning. This is a work that trusts its readers to observe as carefully as the author has.

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