The Common Objects of the Country — Background and Themes
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For The Common Objects of the Country — Background and Themes, the stored edition analysis reports 44,671 words, 3 hr 15 min estimated reading time, and 6 detected text sections.
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Read the Text
EYES--DIFFICULTIES OF OBSERVERS--THE BATS--LONG-EARED BAT--ITS UTILITY--SPORT AND MURDER--SONG OF THE BAT--A BRAVE PRISONER--HOW BATS FEED--HAIR OF BAT AND MOUSE--WING OF THE BAT--THE FIELD-MOUSE--ITS STEALTHY MOVEMENTS--HARVEST MOUSE--WATER RAT--AN INNOCENT VICTIM.
Every one has read, or at least heard of, the tale entitled “Eyes and no Eyes”; which tale is to be found in the _Evenings at Home_. Now this story, or rather the moral of it, is, in my opinion, as often used unfairly as rightly.
Although there are those who pass through life with closed eyes and stopped ears, yet there are many more who would be glad to use their eyes and ears, but know not how to do so for want of proper teaching. To one who has not learned to read, the Bible itself is but a series of senseless black marks; and similarly, the unwritten Word that lies around, below, and above us, is unmeaning to those who cannot read it.
Many would like to read, but cannot do so; and it is in order to help such, to bring before them the first alphabetical teaching, that the following pages are written.
It is no matter of marvel that many an observant person becomes bewildered among natural objects; that he is lost amid the variety of animal, vegetable, and mineral life in which he lives; and that, after vainly attempting to comprehend some simple object, he finds himself baffled, and so in despair ceases to inquire into particulars, and contents himself with admiration of and love for nature in general.
Objects change so rapidly and so constantly, that there is hardly time to note a few remarks before the season has passed away; the object under examination has changed with it, and a year must elapse before that investigation can be continued.
From experience I know how valuable are even a few hints by which the mind can be directed in a straight course without wasting its strength and losing its time by devious wanderings. Only hints can be given, for the limits of the volume forbid any lengthened discussion of single objects; and, besides, the mind is more pleased to work out a subject according to its own individuality than to have it laid down as completed, and to be forbidden to go any further.
Almost every object that is described by the pen will be figured by the pencil, in order to assist the reader in identifying the creature in an easier manner than if it were merely described in words.
Of the birds I shall not be able to treat, as they alone would occupy the entire space of this volume; and, for the same reason, only a short account can be given of each object.
As in the scale of creation the mammals fill the highest place, we will speak of them first, taking, as far as possible, each creature in its own order.
Perhaps there are few people who would not feel some surprise when they learn that the very highest of our British animals is the Bat. Usually the bat is looked upon with rather a feeling of dread, and is regarded as a creature of such ill-omen that its very presence causes a shudder, and its approach would put to flight many a human being.
There is certainly some ground for this feeling; for the night-loving propensities of the creature, its weird-like aspect, its strange devious flight, and more especially its organs of flight, are so interwoven with the popular ideas of evil and its ministers, that bats and imps appear to be synonymous terms.
Painters always represent their imps as upborne by bats’ wings, furnished with several supplementary hooks; and sculptors follow the same principle.
In consequence, all bats and objects connected with bats are viewed with great horror, with two exceptions: a cricket-bat and a bat’s-wing gas-burner.
Now, I cannot but think that this is very hard on the bats. It is said that the African negroes depict and describe _their_ evil spirits as white; and that, in consequence, the negro children fly in consternation if perchance a white man comes into their territory.
Yet, a white man is not so very horrid an object after all, if one only dare look at him; and the same remark holds good with the bats.
J. G. Wood opens The Common Objects of the Country by invoking the familiar tale “Eyes and No Eyes” from Evenings at Home, immediately signaling his intent to train readers to see what is already around them. His preface declares that scientific language has been “studiously avoided,” and the text bears this out: Wood prefers plain terms like “creature” over taxonomic labels, and he gives scientific names only when no popular name exists. This deliberate choice shapes every description, making the book accessible to a non-specialist audience while retaining precision.
Direct Address and the Reader’s Role
Wood frequently speaks directly to his reader, using second-person pronouns and imperative verbs. In the caterpillar dissection passage, he instructs: “Get a shallow vessel, glass if possible,” and “take a pair of fine scissors, and carefully slit up the skin.” This instructional tone turns the reader into an active participant. Wood also anticipates difficulties: he notes that the fat must be “carefully removed” and recommends a “fine needle stuck into a handle” for the task. The effect is that of a patient tutor guiding a beginner through a delicate procedure.
Choice of Examples: The Typical as Guide
Wood explains in his preface that he has “been content to take certain typical objects, which will serve as guides.” This principle shapes the book’s structure: rather than cataloguing every species, he selects representative forms. For instance, the caterpillar is used to illustrate general insect anatomy, with a diagram labeled “a plan or chart of the interior” that is “not meant to represent the particular anatomy of any one species.” This approach allows Wood to convey broad principles without overwhelming the reader with detail.
Descriptive Precision in Non-Scientific Language
Wood’s descriptions are vivid yet grounded. He describes the silk organ in the caterpillar as “a curiously twisted organ … swelling to a considerable size in the middle, and diminishing to a mere thread at each end.” The silk substance is “partly brittle and partly tough.” Such phrasing gives a tactile sense of the material without resorting to technical terms. Similarly, the nervous system is rendered as “tiny white threads dotted at regular distances by rather larger spots.” Wood’s diction consistently favors concrete, visual language over abstract classification.
The Authorial Voice: Moral and Practical
Wood’s voice is not merely instructive but occasionally moralizing. In the first chapter, he contrasts “Sport and Murder” and praises the bat’s utility. Yet his moral stance is understated, woven into practical advice. The dissection instructions, for example, include a humane note: the caterpillar “may be killed by a momentary immersion in boiling water, or by being placed in spirits of wine.” This blend of ethical consideration with hands-on guidance reflects Wood’s dual role as clergyman and naturalist, a combination that shapes the book’s tone throughout.
Wood’s authorial choices—plain language, direct address, typical examples, and vivid description—make The Common Objects of the Country a practical field companion rather than a dry reference. Readers approaching the text should expect to be guided, not lectured, and to encounter a naturalist who values observation over jargon. The book rewards those who follow its instructions, whether in the field or at the dissecting table.
There’s something tender in how Wood talks to his reader, almost like he's showing a child the inside of a caterpillar. I keep that same quiet patience when I open The Naturalist's Repository, Volume 1 (of 5) or Monthly Miscellany of Exotic Natural History: etc. etc. — Background and Themes—old friends, both, speaking softly of the world's small wonders.
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