Camouflage can be attained via mechanisms such as background matching (resembling the general background) and disruptive coloration (hindering the detection of an animal’s outline). However, despite much conceptual work with artificial stimuli there have to date been few studies of how such camouflage types work in real animals in their natural environments. Here, using avian vision models and image analysis, we tested which concealing mechanisms operate to provide camouflage during behavioral choice of a resting position in two bark-resting moths, Hypomecis roboraria and Jankowskia fuscaria. We found that both species reinforced their crypticity in terms of both background matching and disruptive coloration. However the detailed mechanisms (such as achromatic/chromatic matching or pattern direction matching) that each species exploits differed between the two species. Additionally, we found substantial correlation between the degree of background matching and disruptive coloration, which supports previous work suggesting that these two different concealing mechanisms work together to confer camouflage. Our results clearly demonstrate that an appropriate behavioral choice of background is essential to improve camouflaged against natural predators, and highlight the interrelation between different concealing mechanisms in real prey.

In such poems as “The Dialogue of Self and Soul” and “Vacillation”, the antinomies and oppositions which I have traced in the previous issue of this Journal develop in a very complex manner within the frame of such figures as “the sword” and “the tower”, “brand” and “flaming breath”, “burning leaves” and “green lush foliage moistened with dew.” And they are always posited as implying the antinomies of life and death, remorse and joy, body and soul, earthly life and heaven. In the process of vacillating between “extremities”, Self and Heart which figure not only the body but also the poet’s self declines Soul’s request to “seek out reality, leaving things that seem.” Even though Heart vacillates between antinomies, always looking towards what are opposites to itself, it chooses Homer and his unchristened heart as its example and determines to “live tragically.” By opposing the life of a Swordman to that of a Saint and receiving Homer as the figural example of his art, Yeats puts the foundation that his lyric should be understood as tragedy. “The Gyres” and “Lapis Lazuli”, two tragic lyrics composed in Yeats’s last years, embody his idea of the tragic lyric as well as his tragic world view. In “The Gyres”, the poet, invoking his muse “the old Rocky Face” to look forth and view the world’s overall collapse, “but laugh in tragic joy”. And in “Lapis Lazuli”, the tragic heroes of the Shakespearean tragedy are displayed as the opposing powers or qualities to “the hysterical women” of the modern world. In both of these poems, the poet’s tragic joy or exultation springs from the tragic vision that all things “fall and are built again.” The very eternal recurrence of the battle of antinomies and opposite forces is the source which enacts the poet’s strength and energy to exalt in the midst of despair. Therefore, we may be able to say that the poet’s magical aesthetic which is based on the absolute power of death and the tragic sense of life elevates his lyrics to the height of disruptive tragedy, letting the poet to enact tragic authority at the same time.