oloured immune species from the model followed by the
female. This is quite intelligible when we consider that if there were
TOO MANY false immune types, the birds would soon discover that there
were palatable individuals among those with unpalatable warning colours.
Hence the imitation of different immune species by Papilio dardanus!

I regret that lack of space prevents my bringing forward more examples
of mimicry and discussing them fully. But from the case of Papilio
dardanus alone there is much to be learnt which is of the highest
importance for our understanding of transformations. It shows us chiefly
what I once called, somewhat strongly perhaps, THE OMNIPOTENCE OF
NATURAL SELECTION in answer to an opponent who had spoken of its
"inadequacy." We here see that one and the same species is capable of
producing four or five different patterns of colouring and marking;
thus the colouring and marking are not, as has often been supposed,
a necessary outcome of the specific nature of the species, but a
true adaptation, which cannot arise as a direct effect of climatic
conditions, but solely through what I may call the sorting out of the
variations produced by the species, according to their utility. That
caterpillars may be either green or brown is already something more than
could have been expected according to the old conception of species, but
that one and the same butterfly should be now pale yellow, with black;
now red with black and pure white; now deep black with large, pure white
spots; and again black with a large ochreous-yellow spot, and many small
white and yellow spots; that in one sub-species it may be tailed like
the ancestral form, and in another tailless like its Danaid model,--all
this shows a far-reaching capacity for variation and adaptation that
wide never have expected if we did not see the facts before us. How
it is possible that the primary colour-variations should thus be
intensified and combined remains a puzzle even now; we are reminded of
the modern three-colour printing,--perhaps similar combinations of the
primary colours take place in this case; in any case the direction of
these primary variations is determined by the artist whom we know as
natural selection, for there is no other conceivable way in which the
model could affect the butterfly that is becoming more and more like it.
The same climate surrounds all four forms of female; they are subject
to the same conditions of nutrition. Mor