In many leaves there is conflict between those forces that result in the
leaf getting the utmost possible exposure to light and those that
prevent too rapid transpiration. On the one hand there is the absolute
necessity for light, on the other the ever-present danger that the
response of leaves to this necessity will result in a transpiration rate
too rapid to be held in check by the guard cells. The compromise between
these two forces, each pulling in opposite directions, gives to some
leaves a series of movements that are among the most interesting things
in nature. One of the most marked examples is the common wild lettuce, a
weedy plant of our roadsides introduced from Europe. In bright sunlight
the leaves are turned so that the edge of the blade faces upward, and
the surface is thus protected from the direct rays of the sun, but
during cloudy weather or in the shade the leaves turn into the ordinary
position of most foliage leaves. It is difficult to avoid the inference
that photosynthesis, which, as we have seen is an absolute necessity to
the leaf, is in the wild lettuce retarded by transpiration, to avoid the
too rapid rate of which the leaf is turned on edge. In this plant the
leaf base, as though to be ready for whatever change transpiration or
photosynthesis may demand, is so attached to the stem that such changes
are made with the least possible delay or wrenching. In one of the many
kinds of blue gum trees of Australia all the leaves turn one way in the
light, and another in shade or on cloudy days. Ever so many plants have
partial movements of their leaves, a good many of which are in response
to these opposing demands, one pulling the leaf into the greatest
possible light, the other holding it away from that condition. There are
other movements of leaves, of parts of the flower, or even of the whole
plant that are not so certainly the result of the conflict between light
requirements and the necessity of conserving water supply. They will be
considered presently.
Public-domain text, read in full here on John Shaqi.
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