Death of a Moth

Years ago I worked in a large modern building with dark grey glass doors and windows. One morning when I was out smoking, I noticed a bright spot on the wall next to the door — a white moth, with soft, furry body and silvery antennae. It was the most beautiful creature I had ever seen—delicate and fragile, highlighted by the darkness of the glass and granite building. It was held there against the wall by a grip frozen in death.

I was reminded of this moth when I read W.G. Sebald’s Austerlitz with his references to moths; subtle symbols of the lead character’s search for the truth of who he is, like the moth’s obsessive desire for illumination, regardless of the cost. And in the book, memories are tipped out into words forming stories as fragile as the wings of a moth preserved in a jar:

None of the containers was more than two or three inches high, and when I opened them one by one and held them in the light of the lamp, each proved to contain the mortal remains of one of the moths which — as Austerlitz had told me — had met its end here in this house. I tipped one of them, a weightless ivory-colored creature with folded wings that might have been woven of some immaterial fabric, out of its Bakelite box onto the palm of my right hand. Its legs, which it had drawn up under its silver-scaled body as if just clearing some final obstacle, were so delicate taht I could scarely make them out, while the antannae curving high above the whole body also trembled on the edge of visibility.

In college I was introduced to another story featuring a moth, Virginia Woolf’s essay, Death of a Moth. In it, Woolf writes about a moth flying about a window pane, its world constrained by the boundaries of the wood holding the glass. The moth flew from one side to the other, and then back again, as the rest of life continued ignorant of its movements. At first indifferent, Woolf was eventually moved to pity of the moth:

The possibilities of pleasure seemed that morning so enormous and so various that to have only a moth’s part in life, and a day moth’s at that, appeared a hard fate, and his zest in enjoying his meagre opportunities to the full, pathetic.

The moth settles on the window sill and Woolf forgets it until she notices it trying to move again, but this time its movements are slow and awkward. It attempts to fly but fails, and falls back down to the sill—landing on its back, tiny feet clawing at the air as it tries to right itself. The author reaches out to help when she realizes that it is dying and draws back, reluctant to interfere with this natural process. Somehow in the brightness of the day, the power of death was seeking this moth and there was nothing anyone could do to stop it.

Still, she watched the moth as it fought against the inevitable:

One could only watch the extraordinary efforts made by those tiny legs against an oncoming doom which could, had it chosen, have submerged an entire city, not merely a city, but masses of human beings; nothing, I knew, had any chance against death. Nevertheless after a pause of exhaustion the legs fluttered again. It was superb this last protest, and so frantic that he succeeded at last in righting himself. One’s sympathies, of course, were all on the side of life.

However, after the moth had righted itself, in the instant of its victory, death descended:

The moth having righted himself now lay most decently and uncomplainingly composed. O yes, he seemed to say, death is stronger than I am.

In Woolf’s essay, the battle between life and death is somehow seen as both pathetic and noble. Pathetic because death will always win regardless the desire for life; but noble in how one faces death — on our back, defeated, or on our feet and in dignity.

Another essay also called Death of a Moth by Annie Dillard is often compared to Woolf’s essay, most likely because of the similar titles and subjects. Unlike Woolf’s moth, Dillard’s meets its end much more dramatically—caught within a candle’s flame, it’s body on fire, which Dillard details in unsentimental detail:

Her moving wings ignited like tissue paper, like angels’ wings, enlarging the circle of the darkness the sudden blue sleeves of my sweater, the green leaves of jewelweed by my side, the ragged red trunk of a pine; at once the light contracted again and the moth’s wings vanished in a fine, foul smoke. At the same time, her six legs clawed, curled, blackened, and ceased, disappearing utterly. And her head jerked in spasms, making a spattering noise; her antennae crisped and burnt away and her heaving mouthparts cracked like pistol fire. When it was all over, her head was, so far as I could determine, gone, gone the long way of her wings and legs.

Compared to Woolf’s moth, with its quiet dignity and brave fight against death, Dillard’s moth was caught in a torment of fire and died violently, one could almost say grotesquely. Death isn’t veiled in the struggle; isn’t seen through the same type of grey silken glasses worn by one of Sebald’s characters to mute the landscape when he paints. Death is stripped bare, exposed in all of its hideous indifference.

Yet where Woolf’s moth leads one to accept death, to embrace the nobility of death, Dillard’s moth flares out at death, defiant, and unaccepting. Its death says to me, “I do not go willingly, I do not give up on life easily. You must rip it from me and I’ll fight to hold it.” In the end, rather than form a noble and dignified corpse, Dillard’s moth becomes a second wick, causing the candle to burn that much brighter:

She burned for two hours without changing, without swaying or kneeling-only glowing within, like a boiling fire glimpsed through silhouetted walls, like a hollow saint, like a flame-faced virgin gone to God, while I read by her light, kindled while Rimbaud in Paris burnt out his brain in a thousand poems, while night pooled wetly at my feet.

I was more moved by Woolf’s moth, but Dillard’s moth is the one most vivid in my mind and in my memory.

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