Balthasar van der Ast, Flowers and Fruit, c. 1620
From “Why We Hate Insects,” an essay by Robert Lynd, collected in his 1921 book, The Pleasures of Ignorance.
It has been said that the characteristic sound of summer is the hum of insects, as the characteristic sound of spring is the singing of birds. It is all the more curious that the word “insect” conveys to us an implication of ugliness. We think of spiders, of which many people are more afraid than of Germans. We think of bugs and fleas, which seem so indecent in their lives that they are made a jest by the vulgar and the nice people do their best to avoid mentioning them. We think of blackbeetles scurrying into safety as the kitchen light is suddenly turned on—blackbeetles which (so we are told) in the first place are not beetles, and in the second place are not black …
There are also certain crawling creatures which are so notoriously the children of filth and so threatening in their touch that we naturally shrink from them. Burns may make merry over a louse crawling in a lady’s hair, but few of us can regard its kind with equanimity even on the backs of swine. Men of science deny that the louse is actually engendered by dirt, but it undoubtedly thrives on it. Our anger against the flea also arises from the fact that we associate it with dirt. Donne once wrote a poem to a lady who had been bitten by the same flea as himself, arguing that this was a good reason why she should allow him to make love to her. It is, and was bound to be, a dirty poem. Love, even of the wandering and polygynous kind, does not express itself in such images. Only while under the dominion of the youthful heresy of ugliness could a poet pretend that it did. The flea, according to the authorities, is “remarkable for its powers of leaping, and nearly cosmopolitan.” Even so, it has found no place in the heart or fancy of man. There have been men who were indifferent to fleas, but there have been none who loved them, though if my memory does not betray me there was a famous French prisoner some years ago who beguiled the tedium of his cell by making a pet and a performer of a flea. For the world at large, the flea represents merely hateful irritation. Mr W. B. Yeats has introduced it into poetry in this sense in an epigram addressed “to a poet who would have me praise certain bad poets, imitators of his and of mine”: Read More