GENERALLY, wildlife sees us before we see it. It’s rare to have the kind of face-to-face encounter that American writer Annie Dillard experienced when she unexpectedly came across a weasel and became locked in its gaze for so long she felt they were like lovers, exchanging brains: ‘The world dismantled and tumbled into that black hole of eyes.’
It seems strange that animals so keen to keep out of sight have such attention-grabbing features. Rabbits often freeze, blending against a bare winter hedge or molehills and rocks, but, once they run, their snowy tails immediately give them away. It is the same with roe deer. Motionless on winter barley or stubble, they merge with the scenery, but, when they scamper off, there go those flashing white beacons that seem to say: ‘Hey, look over here!’ Humorous cartoonist Gary Larson drew on that vein in one of his most familiar works: a deer, standing upright, displays a large bullseye target on its chest. ‘Bummer of a birthmark, Hal,’ his friend observes.
Why do so many prey animals have such obviously flashy appendages? In rabbits and some deer, the short, white, erect tails are known as scuts. Beatrix Potter captured these pristine puffs perfectly as they peeked pertly below the blue jacket and pink cloaks worn by Peter Rabbit and his sisters Flopsy, Mopsy and, of course, Cotton-tail. In Richard Adams’s seminal 1972 novel Watership Down, the scut is explained through a lapine creation myth. Irritated by the rabbits’ fecundity and refusal to cooperate, sun god Frith provides the fox and the weasel with cunning, fierceness—and the desire to hunt rabbits. Seeking out the impudent rabbit leader, by now digging frantically to avoid his new enemies, the deity bestows two gifts upon the visible anatomy. Thus were the rabbit’s back legs made more powerful and his tail ‘grew shining white and flashed like a star’. He had been given both speed and warning.
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