Neo-Confucian philosopher Fujiwara Seika visited a friend on the night of the Han mid-autumn festival in 1606. As the moon appeared, the men climbed onto the roof. “The guest felt in his heart the endlessness of space,” wrote Seika’s student Hayashi Razan, “but the host seemed not to notice this, so the guest also acted as if he had not either.” Drunk on wine just before dawn, the pair began asking questions of the moon. No answers came, Razan wrote: “What could the moon say?”

A longtime practice of European peasants was to bring cows and sheep inside for the night. If one could ignore “the nastiness of their excrements,” a late seventeenth-century visitor to Ireland opined, “the sweetness of their breath” and “the pleasing noise they made in ruminating or chewing the cud” might lull a person to sleep. A visitor to the Hebrides noted, however, that while urine was regularly collected and discarded, the dung was removed only once a year.

Annoyed by a prohibition against nocturnal work in late medieval France—enacted because candles provided insufficient light for quality performance—employers complained to Louis XI that workers occupied themselves from “four or five o’clock until the next day with various games and dissipations, and hardly want to apply themselves to do well.” In the winter of 1467, they received permission to extend working hours to ten pm.

Poet Edward Fairfax kept a 1621 account of his daughter Helen’s terrible nightmares, describing an incident in which she complained about a demonic white cat that “has been long upon me and drawn my breath.” The cat, she said, “has left in my mouth and throat so filthy a smell that it does poison me.”

Psychologists at the University of California recognized a lack of sleep “as a social repellent” and its effect contagious: “People who come in contact with a sleep-deprived individual, even through a brief one-minute interaction, feel lonelier themselves as a result.”

Setting grim tales during nighttime was critiqued as a cliché in 1594 by Thomas Nashe. “When any poet would describe a horrible tragical accident,” he wrote, “to add the more probability and credence unto it, he dismally begins to tell how it was dark night when it was done.”

“The difference between us is very marked,” wrote Frederick Douglass to Harriet Tubman in 1868. “Most that I have done and suffered in the service of our cause has been in public, and I have received much encouragement at every step of the way. You, on the other hand, have labored in a private way. I have wrought in the day—you in the night.”

When a boat of carousing European sailors on the Bosporus awoke the sleeping Sultan Selim III one night in 1790, the Ottoman leader issued an emergency order to his administration against night revelers: “Warn all ambassadors and Europeans never to perform this shameless act again. I will mercilessly kill whoever does it.”

“Darkness has come upon me,” a hymn in the Rig Veda laments. “O Dawn, banish it like a debt.” The morning light is here asked, suggested translator Wendy Doniger, to act as a collection agency—to “make good what darkness had incurred or ‘exact’ the darkness from night as one would exact money.”