On what, I wondered, were these Sertularians feeding? From their very abundance I knew that whatever creatures served them as food must be infinitely more numerous than the carnivorous hydroids themselves. Yet I could see nothing. Obviously their food would be minute, for each of the feeders was of threadlike diameter and its tentacles were like the finest gossamer. Somewhere in the crystal clarity of the pool my eye—or so it seemed—could detect a fine mist of infinitely small particles, like dust motes in a ray of sunshine. Then as I looked more closely the motes had disappeared and there seemed to be once more only that perfect clarity, and the sense that there had been an optical illusion. Yet I knew it was only the human imperfection of my vision that prevented me from seeing those microscopic hordes that were the prey of the groping, searching tentacles I could barely see. Even more than the visible life, that which was unseen came to dominate my thoughts, and finally the invisible throng seemed to me the most powerful beings in the pool. Both the hydroids and the mussels were utterly dependent on this invisible flotsam of the tide streams, the mussels as passive strainers of the plant plankton, the hydroids as active predators seizing and ensnaring the minute water fleas and copepods and worms. But should the plankton become less abundant, should the incoming tide streams somehow become drained of this life, then the pool would become a pool of death, both for the mussels in their shells blue as mountains and for the crystal colonies of the hydroids.
Some of the most beautiful pools of the shore are not exposed to the view of the casual passer-by. They must be searched for—perhaps in low-lying basins hidden by great rocks that seem to be heaped in disorder and confusion, perhaps in darkened recesses under a projecting ledge, perhaps behind a thick curtain of concealing weeds.
I know such a hidden pool. It lies in a sea cave, at low tide filling perhaps the lower third of its chamber. As the flooding tide returns the pool grows, swelling in volume until all the cave is water-filled and the cave and the rocks that form and contain it are drowned beneath the fullness of the tide. When the tide is low, however, the cave may be approached from the landward side. Massive rocks form its floor and walls and roof. They are penetrated by only a few openings—two near the floor on the sea side and one high on the landward wall. Here one may lie on the rocky threshold and peer through the low entrance into the cave and down into its pool. The cave is not really dark; indeed on a bright day it glows with a cool green light. The source of this soft radiance is the sunlight that enters through the openings low on the floor of the pool, but only after its entrance into the pool does the light itself become transformed, invested with a living color of purest, palest green that is borrowed from the covering of sponge on the floor of the cave.
Through the same openings that admit the light, fish come in from the sea, explore the green hall, and depart again into the vaster waters beyond. Through those low portals the tides ebb and flow. Invisibly, they bring in minerals—the raw materials for the living chemistry of the plants and animals of the cave. They bring, invisibly again, the larvae of many sea creatures—drifting, drifting in their search for a resting place. Some may remain and settle here; others will go out on the next tide.
Looking down into the small world confined within the walls of the cave, one feels the rhythms of the greater sea world beyond. The waters of the pool are never still. Their level changes not only gradually with the rise and fall of the tide, but also abruptly with the pulse of the surf. As the backwash of a wave draws it seaward, the water falls away rapidly; then with a sudden reversal the inrushing water foams and surges upward almost to one's face.
On the outward movement one can look down and see the floor, its details revealed more clearly in the shallowing water. The green crumb-of-bread sponge covers much of the bottom of the pool, forming a thick-piled carpet built of tough little feltlike fibers laced together with glassy, double-pointed needles of silica—the spicules or skeletal supports of the sponge. The green color of the carpet is the pure color of chlorophyll, this plant pigment being confined within the cells of an alga that are scattered through the tissues of the animal host. The sponge clings closely to the rock, by the very smoothness and flatness of its growth testifying to the streamlining force of heavy surf. In quiet waters the same species sends up many projecting cones; here these would give the turbulent waters a surface to grip and tear.
Interrupting the green carpet are patches of other colors, one a deep, mustard yellow, probably a growth of the sulphur sponge. In the fleeting moment when most of the water has drained away, one has glimpses of a rich orchid color in the deepest part of the cave—the color of the encrusting coralline algae.
Sponges and corallines together form a background for the larger tide-pool animals. In the quiet of ebb tide there is little or no visible movement even among the predatory starfish that cling to the walls like ornamental fixtures painted orange or rose or purple. A group of large anemones lives on the wall of the cave, their apricot color vivid against the green sponge. Today all the anemones may be attached on the north wall of the pool, seemingly immobile and immovable; on the next spring tides when I visit the pool again some of them may have shifted over to the west wall and there taken up their station, again seemingly immovable.
There is abundant promise that the anemone colony is a thriving one and will be maintained. On the walls and ceiling of the cave are scores of baby anemones—little glistening mounds of soft tissue, a pale, translucent brown. But the real nursery of the colony seems to be in a sort of antechamber opening into the central cave. There a roughly cylindrical space no more than a foot across is enclosed by high perpendicular rock walls to which hundreds of baby anemones cling.
On the roof of the cave is written a starkly simple statement of the force of the surf. Waves entering a confined space always concentrate all their tremendous force for a driving, upward leap in this manner the roofs of caves are gradually battered away. The open portal in which I lie saves the ceiling of this cave from receiving the full force of such upward-leaping waves; nevertheless, the creatures that live there are exclusively a heavy-surf fauna. It is a simple black and white mosaic—the black of mussel shells, on which the white cones of barnacles are growing. For some reason the barnacles, skilled colonizers of surf-swept rocks though they be, seem to have been unable to get a foothold directly on the roof of the cave. Yet the mussels have done so. I do not know how this happened but I can guess. I can imagine the young mussels creeping in over the damp rock while the tide is out, spinning their silk threads that bind them securely, anchoring them against the returning waters. And then in time, perhaps, the growing colony of mussels gave the infant barnacles a foothold more tenable than the smooth rock, so that they were able to cement themselves to the mussel shells. However it came about, that is the way we find them now.
As I lie and look into the pool there are moments of relative quiet, in the intervals when one wave has receded and the next has not yet entered. Then I can hear the small sounds: the sound of water dripping from the mussels on the ceiling or of water dripping from seaweeds that line the walls—small, silver splashes losing themselves in the vastness of the pool and in the confused, murmurous whisperings that emanate from the pool itself—the pool that is never quite still.
Then as my fingers explore among the dark red thongs of the dulse and push away the fronds of the Irish moss that cover the walls beneath me, I begin to find creatures of such extreme delicacy that I wonder how they can exist in this cave when the brute force of storm surf is unleashed within its confined space.
Adhering to the rock walls are thin crusts of one of the bryozoans, a form in which hundreds of minute, flask-shaped cells of a brittle structure, fragile as glass, lie one against another in regular rows to form a continuous crust. The color is a pale apricot; the whole seems an ephemeral creation that would crumble away at a touch, as hoarfrost before the sun.
A tiny spiderlike creature with long and slender legs runs about over the crust. For some reason th
at may have to do with its food, it is the same apricot color as the bryozoan carpet beneath it; the sea spider, too, seems the embodiment of fragility.
Another bryozoan of coarser, upright growth, Flustrella, sends up little club-shaped projections from a basal mat. Again, the lime-impregnated clubs seem brittle and glassy. Over and among them, innumerable little roundworms crawl with serpentine motion, slender as threads. Baby mussels creep in their tentative exploration of a world so new to them they have not yet found a place to anchor themselves by slender silken lines.
Exploring with my lens, I find many very small snails in the fronds of seaweed. One of them has obviously not been long in the world, for its pure white shell has formed only the first turn of the spiral that will turn many times upon itself in growth from infancy to maturity. Another, no larger, is nevertheless older. Its shining amber shell is coiled like a French horn and, as I watch, the tiny creature within thrusts out a bovine head and seems to be regarding its surroundings with two black eyes, small as the smallest pinpoints.
But seemingly most fragile of all are the little calcareous sponges that here and there exist among the seaweeds. They form masses of minute, upthrust tubes of vase-like form, none more than half an inch high. The wall of each is a mesh of fine threads—a web of starched lace made to fairy scale.
I could have crushed any of these fragile structures between my fingers—yet somehow they find it possible to exist here, amid the surging thunder of the surf that must fill this cave as the sea comes in. Perhaps the seaweeds are the key to the mystery, their resilient fronds a sufficient cushion for all the minute and delicate beings they contain.
But it is the sponges that give to the cave and its pool their special quality—the sense of a continuing flow of time. For each day that I visit the pool on the lowest tides of the summer they seem unchanged—the same in July, the same in August, the same in September. And they are the same this year as last, and presumably as they will be a hundred or a thousand summers hence.
Simple in structure, little different from the first sponges that spread their mats on ancient rocks and drew their food from a primordial sea, the sponges bridge the eons of time. The green sponge that carpets the floor of this cave grew in other pools before this shore was formed; it was old when the first creatures came out of the sea in those ancient eras of the Paleozoic, 300 million years ago; it existed even in the dim past before the first fossil record, for the hard little spicules—all that remains when the living tissue is gone—are found in the first fossil-bearing rocks, those of the Cambrian period.
So, in the hidden chamber of that pool, time echoes down the long ages to a present that is but a moment.
As I watched, a fish swam in, a shadow in the green light, entering the pool by one of the openings low on its seaward wall. Compared with the ancient sponges, the fish was almost a symbol of modernity, its fishlike ancestry traceable only half as far into the past. And I, in whose eyes the images of the two were beheld as though they were contemporaries, was a mere newcomer whose ancestors had inhabited the earth so briefly that my presence was almost anachronistic.
As I lay at the threshold of the cave thinking those thoughts, the surge of waters rose and flooded across the rock on which I rested. The tide was rising.
The Rim of Sand
ON THE SANDS of the sea's edge, especially where they are broad and bordered by unbroken lines of wind-built dunes, there is a sense of antiquity that is missing from the young rock coast of New England. It is in part a sense of the unhurried deliberation of earth processes that move with infinite leisure, with all eternity at their disposal. For unlike that sudden coming in of the sea to flood the valleys and surge against the mountain crests of the drowned lands of New England, the sea and the land lie here in a relation established gradually, over millions of years.
During those long ages of geologic time, the sea has ebbed and flowed over the great Atlantic coastal plain. It has crept toward the distant Appalachians, paused for a time, then slowly receded, sometimes far into its basin; and on each such advance it has rained down its sediments and left the fossils of its creatures over that vast and level plain. And so the particular place of its stand today is of little moment in the history of the earth or in the nature of the beach—a hundred feet higher, or a hundred feet lower, the seas would still rise and fall unhurried over shining flats of sand, as they do today.
And the materials of the beach are themselves steeped in antiquity. Sand is a substance that is beautiful, mysterious, and infinitely variable; each grain on a beach is the result of processes that go back into the shadowy beginnings of life, or of the earth itself.
The bulk of seashore sand is derived from the weathering and decay of rocks, transported from their place of origin to the sea by the rains and the rivers. In the unhurried processes of erosion, in the freighting seaward, ±n the interruptions and resumptions of that journey, the minerals have suffered various fates—some have been dropped, some have worn out and vanished. In the mountains the slow decay and disintegration of the rocks proceed, and the stream of sediments grows—suddenly and dramatically by rockslides—slowly, inexorably, by the wearing of rock by water. All begin their passage toward the sea. Some disappear through the solvent action of water or by grinding attrition in the rapids of a river's bed. Some are dropped on the riverbank by flood waters, there to lie for a hundred, a thousand years, to become locked in the sediments of the plain and wait another million years or so, during which, perhaps, the sea comes in and then returns to its basin. Then at last they are released by the persistent work of erosion's tools-wind, rain, and frost—to resume the journey to the sea. Once brought to salt water, a fresh rearranging, sorting, and transport begin. Light minerals, like flakes of mica, are carried away almost at once; heavy ones like the black sands of ilmenite and rutile are picked up by the violence of storm waves and thrown on the upper beach.
No individual sand grain remains long in any one place. The smaller it is, the more it is subject to long transport—the larger grains by water, the smaller by wind. An average grain of sand is only two and one half times the weight of an equal volume of water, but more than two thousand times as heavy as air, so only the smaller grains are available for transport by wind. But despite the constant working over of the sands by wind and water, a beach shows little visible change from day to day, for as one grain is carried away, another is usually brought to take its place.
The greater part of most beach sand consists of quartz, the most abundant of all minerals, found in almost every type of rock. But many other minerals occur among its crystal grains, and one small sample of sand might contain fragments of a dozen or more. Through the sorting action of wind, water, and gravity, fragments of darker, heavier minerals may form patches overlying the pale quartz. So there may be a curious purple shading over the sand, shifting with the wind, piling up in little ridges of deeper color like the ripple marks of waves—a concentration of almost pure garnet. Or there may be patches of dark green—sands formed of glauconite, a product of the sea's chemistry and the interaction of the living and the non-living. Glauconite is a form of iron silicate that contains potassium; it has occurred in the deposits of all geologic ages. According to one theory, it is forming now in warm shallow areas of the sea's floor, where the shells of minute creatures called foraminifera are accumulating and disintegrating on muddy sea bottoms. On many Hawaiian beaches, the somber darkness of the earth's interior is reflected in sand grains of olivine derived from black basaltic lavas. And drifts of the "black sands" of rutile and ilmenite and other heavy minerals darken the beaches of Georgia's St. Simons and Sapelo Islands, clearly separated from the lighter quartz.
In some parts of the world the sands represent the remains of plants that in life had lime-hardened tissues, or fragments of the calcareous shells of sea creatures. Here and there on the coast of Scotland, for example, are beaches composed of glistening white "nullipore sands"—the shattered and sea-ground remains of co
ralline algae growing on the bottom offshore. On the coast of Galway in Ireland the dunes are built of sands composed of tiny perforated globes of calcium carbonate—the shells of foraminifera that once floated in the sea. The animals were mortal but the shells they built have endured. They drifted to the floor of the sea and became compacted into sediment. Later the sediments were uplifted to form cliffs, which were eroded and returned once more to the sea. The shells of foraminifera appear also in the sands of southern Florida and the Keys, along with coral debris and the shells of mollusks, shattered, ground, and polished by the waves.
From Eastport to Key West, the sands of the American Atlantic coast, by their changing nature, reveal a varied origin. Toward the northern part of the coast mineral sands predominate, for the waves are still sorting and rearranging and carrying from place to place the fragments of rock that the glaciers brought down from the north, thousands of years ago. Every grain of sand on a New England beach has a long and eventful history. Before it was sand, it was rock—splintered by the chisels of the frost, crushed under advancing glaciers and carried forward with the ice in its slow advance, then ground and polished in the mill of the surf. And long ages before the advance of the ice, some of the rock had come up into the light of the sun from the black interior of the earth by ways unseen and for the most part unknown, made fluid by subterranean fires and rising along deep pipes and fissures. Now in this particular moment of its history, it belongs to the sea's edge—swept up and down the beaches with the tides or drifted alongshore with the currents, continuously sifted and sorted, packed down, washed out, or set adrift again, as always and endlessly the waves work over the sands.
The Edge of the Sea Page 12
