The full moon, well risen in a cloudless eastern sky, covered the high solitude with its light. We are not conscious of daylight as that which displaces darkness. Daylight, even when the sun is clear of clouds, seems to us simply the natural condition of the earth and air. When we think of the downs, we think of the downs in daylight, as with think of a rabbit with its fur on. Stubbs may have envisaged the skeleton inside the horse, but most of us do not: and we do not usually envisage the downs without daylight, even though the light is not a part of the down itself as the hide is part of the horse itself. We take daylight for granted. But moonlight is another matter. It is inconstant. The full moon wanes and returns again. Clouds may obscure it to an extent to which they cannot obscure daylight. Water is necessary to us, but a waterfall is not. Where it is to be found it is something extra, a beautiful ornament. We need daylight and to that extent it us utilitarian, but moonlight we do not need. When it comes, it serves no necessity. It transforms. It falls upon the banks and the grass, separating one long blade from another; turning a drift of brown, frosted leaves from a single heap to innumerable flashing fragments; or glimmering lengthways along wet twigs as though light itself were ductile. Its long beams pour, white and sharp, between the trunks of trees, their clarity fading as they recede into the powdery, misty distance of beech woods at night. In moonlight, two acres of coarse bent grass, undulant and ankle deep, tumbled and rough as a horse's mane, appear like a bay of waves, all shadowy troughs and hollows. The growth is so thick and matted that event the wind does not move it, but it is the moonlight that seems to confer stillness upon it. We do not take moonlight for granted. It is like snow, or like the dew on a July morning. It does not reveal but changes what it covers. And its low intensity---so much lower than that of daylight---makes us conscious that it is something added to the down, to give it, for only a little time, a singular and marvelous quality that we should admire while we can, for soon it will be gone again.
In fact, as these companies offered more and more (simply because they could), they found that demand actually followed supply. The act of vastly increasing choice seemed to unlock demand for that choice. Whether it was latent demand for niche goods that was already there or a creation of new demand, we don't yet know. But what we do know is that the companies for which we have the most complete data - netflix, Amazon, Rhapsody - sales of products not offered by their bricks-and-mortar competitors amounted to between a quarter and nearly half of total revenues - and that percentage is rising each year. in other words, the fastest-growing part of their businesses is sales of products that aren't available in traditional, physical retail stores at all. These infinite-shelf-space businesses have effectively learned a lesson in new math: A very, very big number (the products in the Tail) multiplied by a relatives small number (the sales of each) is still equal to a very, very big number. And, again, that very, very big number is only getting bigger. What's more, these millions of fringe sales are an efficient, cost-effective business. With no shelf space to pay for - and in the case of purely digital services like iTunes, no manufacturing costs and hardly any distribution fees - a niche product sold is just another sale, with the same (or better) margins as a hit. For the first time in history, hits and niches are on equal economic footing, both just entries in a database called up on demand, both equally worthy of being carried. Suddenly, popularity no longer has a monopoly on profitability.