summaryrefslogtreecommitdiff
path: root/old/44820.txt
blob: 57cdc2818f9f9038f8473af0d57611d6a18a8ecc (plain)
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
33
34
35
36
37
38
39
40
41
42
43
44
45
46
47
48
49
50
51
52
53
54
55
56
57
58
59
60
61
62
63
64
65
66
67
68
69
70
71
72
73
74
75
76
77
78
79
80
81
82
83
84
85
86
87
88
89
90
91
92
93
94
95
96
97
98
99
100
101
102
103
104
105
106
107
108
109
110
111
112
113
114
115
116
117
118
119
120
121
122
123
124
125
126
127
128
129
130
131
132
133
134
135
136
137
138
139
140
141
142
143
144
145
146
147
148
149
150
151
152
153
154
155
156
157
158
159
160
161
162
163
164
165
166
167
168
169
170
171
172
173
174
175
176
177
178
179
180
181
182
183
184
185
186
187
188
189
190
191
192
193
194
195
196
197
198
199
200
201
202
203
204
205
206
207
208
209
210
211
212
213
214
215
216
217
218
219
220
221
222
223
224
225
226
227
228
229
230
231
232
233
234
235
236
237
238
239
240
241
242
243
244
245
246
247
248
249
250
251
252
253
254
255
256
257
258
259
260
261
262
263
264
265
266
267
268
269
270
271
272
273
274
275
276
277
278
279
280
281
282
283
284
285
286
287
288
289
290
291
292
293
294
295
296
297
298
299
300
301
302
303
304
305
306
307
308
309
310
311
312
313
314
315
316
317
318
319
320
321
322
323
324
325
326
327
328
329
330
331
332
333
334
335
336
337
338
339
340
341
342
343
344
345
346
347
348
349
350
351
352
353
354
355
356
357
358
359
360
361
362
363
364
365
366
367
368
369
370
371
372
373
374
375
376
377
378
379
380
381
382
383
384
385
386
387
388
389
390
391
392
393
394
395
396
397
398
399
400
401
402
403
404
405
406
407
408
409
410
411
412
413
414
415
416
417
418
419
420
421
422
423
424
425
426
427
428
429
430
431
432
433
434
435
436
437
438
439
440
441
442
443
444
445
446
447
448
449
450
451
452
453
454
455
456
457
458
459
460
461
462
463
464
465
466
467
468
469
470
471
472
473
474
475
476
477
478
479
480
481
482
483
484
485
486
487
488
489
490
491
492
493
494
495
496
497
498
499
500
501
502
503
504
505
506
507
508
509
510
511
512
513
514
515
516
517
518
519
520
521
522
523
524
525
526
527
528
529
530
531
532
533
534
535
536
537
538
539
540
541
542
543
544
545
546
547
548
549
550
551
552
553
554
555
556
557
558
559
560
561
562
563
564
565
566
567
568
569
570
571
572
573
574
575
576
577
578
579
580
581
582
583
584
585
586
587
588
589
590
591
592
593
594
595
596
597
598
599
600
601
602
603
604
605
606
607
608
609
610
611
612
613
614
615
616
617
618
619
620
621
622
623
624
625
626
627
628
629
630
631
632
633
634
635
636
637
638
639
640
641
642
643
644
645
646
647
648
649
650
651
652
653
654
655
656
657
658
659
660
661
662
663
664
665
666
667
668
669
670
671
672
673
674
675
676
677
678
679
680
681
682
683
684
685
686
687
688
689
690
691
692
693
694
695
696
697
698
699
700
701
702
703
704
705
706
707
708
709
710
711
712
713
714
715
716
717
718
719
720
721
722
723
724
725
726
727
728
729
730
731
732
733
734
735
736
737
738
739
740
741
742
743
744
745
746
747
748
749
750
751
752
753
754
755
756
757
758
759
760
761
762
763
764
765
766
767
768
769
770
771
772
773
774
775
776
777
778
779
780
781
782
783
784
785
786
787
788
789
790
791
792
793
794
795
796
797
798
799
800
801
802
803
804
805
806
807
808
809
810
811
812
813
814
815
816
817
818
819
820
821
822
823
824
825
826
827
828
829
830
831
832
833
834
835
836
837
838
839
840
841
842
843
844
845
846
847
848
849
850
851
852
853
854
855
856
857
858
859
860
861
862
863
864
865
866
867
868
869
870
871
872
873
874
875
876
877
878
879
880
881
882
883
884
885
886
887
888
889
890
891
892
893
894
895
896
897
898
899
900
901
902
903
904
905
906
907
908
909
910
911
912
913
914
915
916
917
918
919
920
921
922
923
924
925
926
927
928
929
930
931
932
933
934
935
936
937
938
939
940
941
942
943
944
945
946
947
948
949
950
951
952
953
954
955
956
957
958
959
960
961
962
963
964
965
966
967
968
969
970
971
972
973
974
975
976
977
978
979
980
981
982
983
984
985
986
987
988
989
990
991
992
993
994
995
996
997
998
999
1000
1001
1002
1003
1004
1005
1006
1007
1008
1009
1010
1011
1012
1013
1014
1015
1016
1017
1018
1019
1020
1021
1022
1023
1024
1025
1026
1027
1028
1029
1030
1031
1032
1033
1034
1035
1036
1037
1038
1039
1040
1041
1042
1043
1044
1045
1046
1047
1048
1049
1050
1051
1052
1053
1054
1055
1056
1057
1058
1059
1060
1061
1062
1063
1064
1065
1066
1067
1068
1069
1070
1071
1072
1073
1074
1075
1076
1077
1078
1079
1080
1081
1082
1083
1084
1085
1086
1087
1088
1089
1090
1091
1092
1093
1094
1095
1096
1097
1098
1099
1100
1101
1102
1103
1104
1105
1106
1107
1108
1109
1110
1111
1112
1113
1114
1115
1116
1117
1118
1119
1120
1121
1122
1123
1124
1125
1126
1127
1128
1129
1130
1131
1132
1133
1134
1135
1136
1137
1138
1139
1140
1141
1142
1143
1144
1145
1146
1147
1148
1149
1150
1151
1152
1153
1154
1155
1156
1157
1158
1159
1160
1161
1162
1163
1164
1165
1166
1167
1168
1169
1170
1171
1172
1173
1174
1175
1176
1177
1178
1179
1180
1181
1182
1183
1184
1185
1186
1187
1188
1189
1190
1191
1192
1193
1194
1195
1196
1197
1198
1199
1200
1201
1202
1203
1204
1205
1206
1207
1208
1209
1210
1211
1212
1213
1214
1215
1216
1217
1218
1219
1220
1221
1222
1223
1224
1225
1226
1227
1228
1229
1230
1231
1232
1233
1234
1235
1236
1237
1238
1239
1240
1241
1242
1243
1244
1245
1246
1247
1248
1249
1250
1251
1252
1253
1254
1255
1256
1257
1258
1259
1260
1261
1262
1263
1264
1265
1266
1267
1268
1269
1270
1271
1272
1273
1274
1275
1276
1277
1278
1279
1280
1281
1282
1283
1284
1285
1286
1287
1288
1289
1290
1291
1292
1293
1294
1295
1296
1297
1298
1299
1300
1301
1302
1303
1304
1305
1306
1307
1308
1309
1310
1311
1312
1313
1314
1315
1316
1317
1318
1319
1320
1321
1322
1323
1324
1325
1326
1327
1328
1329
1330
1331
1332
1333
1334
1335
1336
1337
1338
1339
1340
1341
1342
1343
1344
1345
1346
1347
1348
1349
1350
1351
1352
1353
1354
1355
1356
1357
1358
1359
1360
1361
1362
1363
1364
1365
1366
1367
1368
1369
1370
1371
1372
1373
1374
1375
1376
1377
1378
1379
1380
1381
1382
1383
1384
1385
1386
1387
1388
1389
1390
1391
1392
1393
1394
1395
1396
1397
1398
1399
1400
1401
1402
1403
1404
1405
1406
1407
1408
1409
1410
1411
1412
1413
1414
1415
1416
1417
1418
1419
1420
1421
1422
1423
1424
1425
1426
1427
1428
1429
1430
1431
1432
1433
1434
1435
1436
1437
1438
1439
1440
1441
1442
1443
1444
1445
1446
1447
1448
1449
1450
1451
1452
1453
1454
1455
1456
1457
1458
1459
1460
1461
1462
1463
1464
1465
1466
1467
1468
1469
1470
1471
1472
1473
1474
1475
1476
1477
1478
1479
1480
1481
1482
1483
1484
1485
1486
1487
1488
1489
1490
1491
1492
1493
1494
1495
1496
1497
1498
1499
1500
1501
1502
1503
1504
1505
1506
1507
1508
1509
1510
1511
1512
1513
1514
1515
1516
1517
1518
1519
1520
1521
1522
1523
1524
1525
1526
1527
1528
1529
1530
1531
1532
1533
1534
1535
1536
1537
1538
1539
1540
1541
1542
1543
1544
1545
1546
1547
1548
1549
1550
1551
1552
1553
1554
1555
1556
1557
1558
1559
1560
1561
1562
1563
1564
1565
1566
1567
1568
1569
1570
1571
1572
1573
1574
1575
1576
1577
1578
1579
1580
1581
1582
1583
1584
1585
1586
1587
1588
1589
1590
1591
1592
1593
1594
1595
1596
1597
1598
1599
1600
1601
1602
1603
1604
1605
1606
1607
1608
1609
1610
1611
1612
1613
1614
1615
1616
1617
1618
1619
1620
1621
1622
1623
1624
1625
1626
1627
1628
1629
1630
1631
1632
1633
1634
1635
1636
1637
1638
1639
1640
1641
1642
1643
1644
1645
1646
1647
1648
1649
1650
1651
1652
1653
1654
1655
1656
1657
1658
1659
1660
1661
1662
1663
1664
1665
1666
1667
1668
1669
1670
1671
1672
1673
1674
1675
1676
1677
1678
1679
1680
1681
1682
1683
1684
1685
1686
1687
1688
1689
1690
1691
1692
1693
1694
1695
1696
1697
1698
1699
1700
1701
1702
1703
1704
1705
1706
1707
1708
1709
1710
1711
1712
1713
1714
1715
1716
1717
1718
1719
1720
1721
1722
1723
1724
1725
1726
1727
1728
1729
1730
1731
1732
1733
1734
1735
1736
1737
1738
1739
1740
1741
1742
1743
1744
1745
1746
1747
1748
1749
1750
1751
1752
1753
1754
1755
1756
1757
1758
1759
1760
1761
1762
1763
1764
1765
1766
1767
1768
1769
1770
1771
1772
1773
1774
1775
1776
1777
1778
1779
1780
1781
1782
1783
1784
1785
1786
1787
1788
1789
1790
1791
1792
1793
1794
1795
1796
1797
1798
1799
1800
1801
1802
1803
1804
1805
1806
1807
1808
1809
1810
1811
1812
1813
1814
1815
1816
1817
1818
1819
1820
1821
1822
1823
1824
1825
1826
1827
1828
1829
1830
1831
1832
1833
1834
1835
1836
1837
1838
1839
1840
1841
1842
1843
1844
1845
1846
1847
1848
1849
1850
1851
1852
1853
1854
1855
1856
1857
1858
1859
1860
1861
1862
1863
1864
1865
1866
1867
1868
1869
1870
1871
1872
1873
1874
1875
1876
1877
1878
1879
1880
1881
1882
1883
1884
1885
1886
1887
1888
1889
1890
1891
1892
1893
1894
1895
1896
1897
1898
1899
1900
1901
1902
1903
1904
1905
1906
1907
1908
1909
1910
1911
1912
1913
1914
1915
1916
1917
1918
1919
1920
1921
1922
1923
1924
1925
1926
1927
1928
1929
1930
1931
1932
1933
1934
1935
1936
1937
1938
1939
1940
1941
1942
1943
1944
1945
1946
1947
1948
1949
1950
1951
1952
1953
1954
1955
1956
1957
1958
1959
1960
1961
1962
1963
1964
1965
1966
1967
1968
1969
1970
1971
1972
1973
1974
1975
1976
1977
1978
1979
1980
1981
1982
1983
1984
1985
1986
1987
1988
1989
1990
1991
1992
1993
1994
1995
1996
1997
1998
1999
2000
2001
2002
2003
2004
2005
2006
2007
2008
2009
2010
2011
2012
2013
2014
2015
2016
2017
2018
2019
2020
2021
2022
2023
2024
2025
2026
2027
2028
2029
2030
2031
2032
2033
2034
2035
2036
2037
2038
2039
2040
2041
2042
2043
2044
2045
2046
2047
2048
2049
2050
2051
2052
2053
2054
2055
2056
2057
2058
2059
2060
2061
2062
2063
2064
2065
2066
2067
2068
2069
2070
2071
2072
2073
2074
2075
2076
2077
2078
2079
2080
2081
2082
2083
2084
2085
2086
2087
2088
2089
2090
2091
2092
2093
2094
2095
2096
2097
2098
2099
2100
2101
2102
2103
2104
2105
2106
2107
2108
2109
2110
2111
2112
2113
2114
2115
2116
2117
2118
2119
2120
2121
2122
2123
2124
2125
2126
2127
2128
2129
2130
2131
2132
2133
2134
2135
2136
2137
2138
2139
2140
2141
2142
2143
2144
2145
2146
2147
2148
2149
2150
2151
2152
2153
2154
2155
2156
2157
2158
2159
2160
2161
2162
2163
2164
2165
2166
2167
2168
2169
2170
2171
2172
2173
2174
2175
2176
2177
2178
2179
2180
2181
2182
2183
2184
2185
2186
2187
2188
2189
2190
2191
2192
2193
2194
2195
2196
2197
2198
2199
2200
2201
2202
2203
2204
2205
2206
2207
2208
2209
2210
2211
2212
2213
2214
2215
2216
2217
2218
2219
2220
2221
2222
2223
2224
2225
2226
2227
2228
2229
2230
2231
2232
2233
2234
2235
2236
2237
2238
2239
2240
2241
2242
2243
2244
2245
2246
2247
2248
2249
2250
2251
2252
2253
2254
2255
2256
2257
2258
2259
2260
2261
2262
2263
2264
2265
2266
2267
2268
2269
2270
2271
2272
2273
2274
2275
2276
2277
2278
2279
2280
2281
2282
2283
2284
2285
2286
2287
2288
2289
2290
2291
2292
2293
2294
2295
2296
2297
2298
2299
2300
2301
2302
2303
2304
2305
2306
2307
2308
2309
2310
2311
2312
2313
2314
2315
2316
2317
2318
2319
2320
2321
2322
2323
2324
2325
2326
2327
2328
2329
2330
2331
2332
2333
2334
2335
2336
2337
2338
2339
2340
2341
2342
2343
2344
2345
2346
2347
2348
2349
2350
2351
2352
2353
2354
2355
2356
2357
2358
2359
2360
2361
2362
2363
2364
2365
2366
2367
2368
2369
2370
2371
2372
2373
2374
2375
2376
2377
2378
2379
2380
2381
2382
2383
2384
2385
2386
2387
2388
2389
2390
2391
2392
2393
2394
2395
2396
2397
2398
2399
2400
2401
2402
2403
2404
2405
2406
2407
2408
2409
2410
2411
2412
2413
2414
2415
2416
2417
2418
2419
2420
2421
2422
2423
2424
2425
2426
2427
2428
2429
2430
2431
2432
2433
2434
2435
2436
2437
2438
2439
2440
2441
2442
2443
2444
2445
2446
2447
2448
2449
2450
2451
2452
2453
2454
2455
2456
2457
2458
2459
2460
2461
2462
2463
2464
2465
2466
2467
2468
2469
2470
2471
2472
2473
2474
2475
2476
2477
2478
2479
2480
2481
2482
2483
2484
2485
2486
2487
2488
2489
2490
2491
2492
2493
2494
2495
2496
2497
2498
2499
2500
2501
2502
2503
2504
2505
2506
2507
2508
2509
2510
2511
2512
2513
2514
2515
2516
2517
2518
2519
2520
2521
2522
2523
2524
2525
2526
2527
2528
2529
2530
2531
2532
2533
2534
2535
2536
2537
2538
2539
2540
2541
2542
2543
2544
2545
2546
2547
2548
2549
2550
2551
2552
2553
2554
2555
2556
2557
2558
2559
2560
2561
2562
2563
2564
2565
2566
2567
2568
2569
2570
2571
2572
2573
2574
2575
2576
2577
2578
2579
2580
2581
2582
2583
2584
2585
2586
2587
2588
2589
2590
2591
2592
2593
2594
2595
2596
2597
2598
2599
2600
2601
2602
2603
2604
2605
2606
2607
2608
2609
2610
2611
2612
2613
2614
2615
2616
2617
2618
2619
2620
2621
2622
2623
2624
2625
2626
2627
2628
2629
2630
2631
2632
2633
2634
2635
2636
2637
2638
2639
2640
2641
2642
2643
2644
2645
2646
2647
2648
2649
2650
2651
2652
2653
2654
2655
2656
2657
2658
2659
2660
2661
2662
2663
2664
2665
2666
2667
2668
2669
2670
2671
2672
2673
2674
2675
2676
2677
2678
2679
2680
2681
2682
2683
2684
2685
2686
2687
2688
2689
2690
2691
2692
2693
2694
2695
2696
2697
2698
2699
2700
2701
2702
2703
2704
2705
2706
2707
2708
2709
2710
2711
2712
2713
2714
2715
2716
2717
2718
2719
2720
2721
2722
2723
2724
2725
2726
2727
2728
2729
2730
2731
2732
2733
2734
2735
2736
2737
2738
2739
2740
2741
2742
2743
2744
2745
2746
2747
2748
2749
2750
2751
2752
2753
2754
2755
2756
2757
2758
2759
2760
2761
2762
2763
2764
2765
2766
2767
2768
2769
2770
2771
2772
2773
2774
2775
2776
2777
2778
2779
2780
2781
2782
2783
2784
2785
2786
2787
2788
2789
2790
2791
2792
2793
2794
2795
2796
2797
2798
2799
2800
2801
2802
2803
2804
2805
2806
2807
2808
2809
2810
2811
2812
2813
2814
2815
2816
2817
2818
2819
2820
2821
2822
2823
2824
2825
2826
2827
2828
2829
2830
2831
2832
2833
2834
2835
2836
2837
2838
2839
2840
2841
2842
2843
2844
2845
2846
2847
2848
2849
2850
2851
2852
2853
2854
2855
2856
2857
2858
2859
2860
2861
2862
2863
2864
2865
2866
2867
2868
2869
2870
2871
2872
2873
2874
2875
2876
2877
2878
2879
2880
2881
2882
2883
2884
2885
2886
2887
2888
2889
2890
2891
2892
2893
2894
2895
2896
2897
2898
2899
2900
2901
2902
2903
2904
2905
2906
2907
2908
2909
2910
2911
2912
2913
2914
2915
2916
2917
2918
2919
2920
2921
2922
2923
2924
2925
2926
2927
2928
2929
2930
2931
2932
2933
2934
2935
2936
2937
2938
2939
2940
2941
2942
2943
2944
2945
2946
2947
2948
2949
2950
2951
2952
2953
2954
2955
2956
2957
2958
2959
2960
2961
2962
2963
2964
2965
2966
2967
2968
2969
2970
2971
2972
2973
2974
2975
2976
2977
2978
2979
2980
2981
2982
2983
2984
2985
2986
2987
2988
2989
2990
2991
2992
2993
2994
2995
2996
2997
2998
2999
3000
3001
3002
3003
3004
3005
3006
3007
3008
3009
3010
3011
3012
3013
3014
3015
3016
3017
3018
3019
3020
3021
3022
3023
3024
3025
3026
3027
3028
3029
3030
3031
3032
3033
3034
3035
3036
3037
3038
3039
3040
3041
3042
3043
3044
3045
3046
3047
3048
3049
3050
3051
3052
3053
3054
3055
3056
3057
3058
3059
3060
3061
3062
3063
3064
3065
3066
3067
3068
3069
3070
3071
3072
3073
3074
3075
3076
3077
3078
3079
3080
3081
3082
3083
3084
3085
3086
3087
3088
3089
3090
3091
3092
3093
3094
3095
3096
3097
3098
3099
3100
3101
3102
3103
3104
3105
3106
3107
3108
3109
3110
3111
3112
3113
3114
3115
3116
3117
3118
3119
3120
3121
3122
3123
3124
3125
3126
3127
3128
3129
3130
3131
3132
3133
3134
3135
3136
3137
3138
3139
3140
3141
3142
3143
3144
3145
3146
3147
3148
3149
3150
3151
3152
3153
3154
3155
3156
3157
3158
3159
3160
3161
3162
3163
3164
3165
3166
3167
3168
3169
3170
3171
3172
3173
3174
3175
3176
3177
3178
3179
3180
3181
3182
3183
3184
3185
3186
3187
3188
3189
3190
3191
3192
3193
3194
3195
3196
3197
3198
3199
3200
3201
3202
3203
3204
3205
3206
3207
3208
3209
3210
3211
3212
3213
3214
3215
3216
3217
3218
3219
3220
3221
3222
3223
3224
3225
3226
3227
3228
3229
3230
3231
3232
3233
3234
3235
3236
3237
3238
3239
3240
3241
3242
3243
3244
3245
3246
3247
3248
3249
3250
3251
3252
3253
3254
3255
3256
3257
3258
3259
3260
3261
3262
3263
3264
3265
3266
3267
3268
3269
3270
3271
3272
3273
3274
3275
3276
3277
3278
3279
3280
3281
3282
3283
3284
3285
3286
3287
3288
3289
3290
3291
3292
3293
3294
3295
3296
3297
3298
3299
3300
3301
3302
3303
3304
3305
3306
3307
3308
3309
3310
3311
3312
3313
3314
3315
3316
3317
3318
3319
3320
3321
3322
3323
3324
3325
3326
3327
3328
3329
3330
3331
3332
3333
3334
3335
3336
3337
3338
3339
3340
3341
3342
3343
3344
3345
3346
3347
3348
3349
3350
3351
3352
3353
3354
3355
3356
3357
3358
3359
3360
3361
3362
3363
3364
3365
3366
3367
3368
3369
3370
3371
3372
3373
3374
3375
3376
3377
3378
3379
3380
3381
3382
3383
3384
3385
3386
3387
3388
3389
3390
3391
3392
3393
3394
3395
3396
3397
3398
3399
3400
3401
3402
3403
3404
3405
3406
3407
3408
3409
3410
3411
3412
3413
3414
3415
3416
3417
3418
3419
3420
3421
3422
3423
3424
3425
3426
3427
3428
3429
3430
3431
3432
3433
3434
3435
3436
3437
3438
3439
3440
3441
3442
3443
3444
3445
3446
3447
3448
3449
3450
3451
3452
3453
3454
3455
3456
3457
3458
3459
3460
3461
3462
3463
3464
3465
3466
3467
3468
3469
3470
3471
3472
3473
3474
3475
3476
3477
3478
3479
3480
3481
3482
3483
3484
3485
3486
3487
3488
3489
3490
3491
3492
3493
3494
3495
3496
3497
3498
3499
3500
3501
3502
3503
3504
3505
3506
3507
3508
3509
3510
3511
3512
3513
3514
3515
3516
3517
3518
3519
3520
3521
3522
3523
3524
3525
3526
3527
3528
3529
3530
3531
3532
3533
3534
3535
3536
3537
3538
3539
3540
3541
3542
3543
3544
3545
3546
3547
3548
3549
3550
3551
3552
3553
3554
3555
3556
3557
3558
3559
3560
3561
3562
3563
3564
3565
3566
3567
3568
3569
3570
3571
3572
3573
3574
3575
3576
3577
3578
3579
3580
3581
3582
3583
3584
3585
3586
3587
3588
3589
3590
3591
3592
3593
3594
3595
3596
3597
3598
3599
3600
3601
3602
3603
3604
3605
3606
3607
3608
3609
3610
3611
3612
3613
3614
3615
3616
3617
3618
3619
3620
3621
3622
3623
3624
3625
3626
3627
3628
3629
3630
3631
3632
3633
3634
3635
3636
3637
3638
3639
3640
3641
3642
3643
3644
3645
3646
3647
3648
3649
3650
3651
3652
3653
3654
3655
3656
3657
3658
3659
3660
3661
3662
3663
3664
3665
3666
3667
3668
3669
3670
3671
3672
3673
3674
3675
3676
3677
3678
3679
3680
3681
3682
3683
3684
3685
3686
3687
3688
3689
3690
3691
3692
3693
3694
3695
3696
3697
3698
3699
3700
3701
3702
3703
3704
3705
3706
3707
3708
3709
3710
3711
3712
3713
3714
3715
3716
3717
3718
3719
3720
3721
3722
3723
3724
3725
3726
3727
3728
3729
3730
3731
3732
3733
3734
3735
3736
3737
3738
3739
3740
3741
3742
3743
3744
3745
3746
3747
3748
3749
3750
3751
3752
3753
3754
3755
3756
3757
3758
3759
3760
3761
3762
3763
3764
3765
3766
3767
3768
3769
3770
3771
3772
3773
3774
3775
3776
3777
3778
3779
3780
3781
3782
3783
3784
3785
3786
3787
3788
3789
3790
3791
3792
3793
3794
3795
3796
3797
3798
3799
3800
3801
3802
3803
3804
3805
3806
3807
3808
3809
3810
3811
3812
3813
3814
3815
3816
3817
3818
3819
3820
3821
3822
3823
3824
3825
3826
3827
3828
3829
3830
3831
3832
3833
3834
3835
3836
3837
3838
3839
3840
3841
3842
3843
3844
3845
3846
3847
3848
3849
3850
3851
3852
3853
3854
3855
3856
3857
3858
3859
3860
3861
3862
3863
3864
3865
3866
3867
3868
3869
3870
3871
3872
3873
3874
3875
3876
3877
3878
3879
3880
3881
3882
3883
3884
3885
3886
3887
3888
3889
3890
3891
3892
3893
3894
3895
3896
3897
3898
3899
3900
3901
3902
3903
3904
3905
3906
3907
3908
3909
3910
3911
3912
3913
3914
3915
3916
3917
3918
3919
3920
3921
3922
3923
3924
3925
3926
3927
3928
3929
3930
3931
3932
3933
3934
3935
3936
3937
3938
3939
3940
3941
3942
3943
3944
3945
3946
3947
3948
3949
3950
3951
3952
3953
3954
3955
3956
3957
3958
3959
3960
3961
3962
3963
3964
3965
3966
3967
3968
3969
3970
3971
3972
3973
3974
3975
3976
3977
3978
3979
3980
3981
3982
3983
3984
3985
3986
3987
3988
3989
3990
3991
3992
3993
3994
3995
3996
3997
3998
3999
4000
4001
4002
4003
4004
4005
4006
4007
4008
4009
4010
4011
4012
4013
4014
4015
4016
4017
4018
4019
4020
4021
4022
4023
4024
4025
4026
4027
4028
4029
4030
4031
4032
4033
4034
4035
4036
4037
4038
4039
4040
4041
4042
4043
4044
4045
4046
4047
4048
4049
4050
4051
4052
4053
4054
4055
4056
4057
4058
4059
4060
4061
4062
4063
4064
4065
4066
4067
4068
4069
4070
4071
4072
4073
4074
4075
4076
4077
4078
4079
4080
4081
4082
4083
4084
4085
4086
4087
4088
4089
4090
4091
4092
4093
4094
4095
4096
4097
4098
4099
4100
4101
4102
4103
4104
4105
4106
4107
4108
4109
4110
4111
4112
4113
4114
4115
4116
4117
4118
4119
4120
4121
4122
4123
4124
4125
4126
4127
4128
4129
4130
4131
4132
4133
4134
4135
4136
4137
4138
4139
4140
4141
4142
4143
4144
4145
4146
4147
4148
4149
4150
4151
4152
4153
4154
4155
4156
4157
4158
4159
4160
4161
4162
4163
4164
4165
4166
4167
4168
4169
4170
4171
4172
4173
4174
4175
4176
4177
4178
4179
4180
4181
4182
4183
4184
4185
4186
4187
4188
4189
4190
4191
4192
4193
4194
4195
4196
4197
4198
4199
4200
4201
4202
4203
4204
4205
4206
4207
4208
4209
4210
4211
4212
4213
4214
4215
4216
4217
4218
4219
4220
4221
4222
4223
4224
4225
4226
4227
4228
4229
4230
4231
4232
4233
4234
4235
4236
4237
4238
4239
4240
4241
4242
4243
4244
4245
4246
4247
4248
4249
4250
4251
4252
4253
4254
4255
4256
4257
4258
4259
4260
4261
4262
4263
4264
4265
4266
4267
4268
4269
4270
4271
4272
4273
4274
4275
4276
4277
4278
4279
4280
4281
4282
4283
4284
4285
4286
4287
4288
4289
4290
4291
4292
4293
4294
4295
4296
4297
4298
4299
4300
4301
4302
4303
4304
4305
4306
4307
4308
4309
4310
4311
4312
4313
4314
4315
4316
4317
4318
4319
4320
4321
4322
4323
4324
4325
4326
4327
4328
4329
4330
4331
4332
4333
4334
4335
4336
4337
4338
4339
4340
4341
4342
4343
4344
4345
4346
4347
4348
4349
4350
4351
4352
4353
4354
4355
4356
4357
4358
4359
4360
4361
4362
4363
4364
4365
4366
4367
4368
4369
4370
4371
4372
4373
4374
4375
4376
4377
4378
4379
4380
4381
4382
4383
4384
4385
4386
4387
4388
4389
4390
4391
4392
4393
4394
4395
4396
4397
4398
4399
4400
4401
4402
4403
4404
4405
4406
4407
4408
4409
4410
4411
4412
4413
4414
4415
4416
4417
4418
4419
4420
4421
4422
4423
4424
4425
4426
4427
4428
4429
4430
4431
4432
4433
4434
4435
4436
4437
4438
4439
4440
4441
4442
4443
4444
4445
4446
4447
4448
4449
4450
4451
4452
4453
4454
4455
4456
4457
4458
4459
4460
4461
4462
4463
4464
4465
4466
4467
4468
4469
4470
4471
4472
4473
4474
4475
4476
4477
4478
4479
4480
4481
4482
4483
4484
4485
4486
4487
4488
4489
4490
4491
4492
4493
4494
4495
4496
4497
4498
4499
4500
4501
4502
4503
4504
4505
4506
4507
4508
4509
4510
4511
4512
4513
4514
4515
4516
4517
4518
4519
4520
4521
4522
4523
4524
4525
4526
4527
4528
4529
4530
4531
4532
4533
4534
4535
4536
4537
4538
4539
4540
4541
4542
4543
4544
4545
4546
4547
4548
4549
4550
4551
4552
4553
4554
4555
4556
4557
4558
4559
4560
4561
4562
4563
4564
4565
4566
4567
4568
4569
4570
4571
4572
4573
4574
4575
4576
4577
4578
4579
4580
4581
4582
4583
4584
4585
4586
4587
4588
4589
4590
4591
4592
4593
4594
4595
4596
4597
4598
4599
4600
4601
4602
4603
4604
4605
4606
4607
4608
4609
4610
4611
4612
4613
4614
4615
4616
4617
4618
4619
4620
4621
4622
4623
4624
4625
4626
4627
4628
4629
4630
4631
4632
4633
4634
4635
4636
4637
4638
4639
4640
4641
4642
4643
4644
4645
4646
4647
4648
4649
4650
4651
4652
4653
4654
4655
4656
4657
4658
4659
4660
4661
4662
4663
4664
4665
4666
4667
4668
4669
4670
4671
4672
4673
4674
4675
4676
4677
4678
4679
4680
4681
4682
4683
4684
4685
4686
4687
4688
4689
4690
4691
4692
4693
4694
4695
4696
4697
4698
4699
4700
4701
4702
4703
4704
4705
4706
4707
4708
4709
4710
4711
4712
4713
4714
4715
4716
4717
4718
4719
4720
4721
4722
4723
4724
4725
4726
4727
4728
4729
4730
4731
4732
4733
4734
4735
4736
4737
4738
4739
4740
4741
4742
4743
4744
4745
4746
4747
4748
4749
4750
4751
4752
4753
4754
4755
4756
4757
4758
4759
4760
4761
4762
4763
4764
4765
4766
4767
4768
4769
4770
4771
4772
4773
4774
4775
4776
4777
4778
4779
4780
4781
4782
4783
4784
4785
4786
4787
4788
4789
4790
4791
4792
4793
4794
4795
4796
4797
4798
4799
4800
4801
4802
4803
4804
4805
4806
4807
4808
4809
4810
4811
4812
4813
4814
4815
4816
4817
4818
4819
4820
4821
4822
4823
4824
4825
4826
4827
4828
4829
4830
4831
4832
4833
4834
4835
4836
4837
4838
4839
4840
4841
4842
4843
4844
4845
4846
4847
4848
4849
4850
4851
4852
4853
4854
4855
4856
4857
4858
4859
4860
4861
4862
4863
4864
4865
4866
4867
4868
4869
4870
4871
4872
4873
4874
4875
4876
4877
4878
4879
4880
4881
4882
4883
4884
4885
4886
4887
4888
4889
4890
4891
4892
4893
4894
4895
4896
4897
4898
4899
4900
4901
4902
4903
4904
4905
4906
4907
4908
4909
4910
4911
4912
4913
4914
4915
4916
4917
4918
4919
4920
4921
4922
4923
4924
4925
4926
4927
4928
4929
4930
4931
4932
4933
4934
4935
4936
4937
4938
4939
4940
4941
4942
4943
4944
4945
4946
4947
4948
4949
4950
4951
4952
4953
4954
4955
4956
4957
4958
4959
4960
4961
4962
4963
4964
4965
4966
4967
4968
4969
4970
4971
4972
4973
4974
4975
4976
4977
4978
4979
4980
4981
4982
4983
4984
4985
4986
4987
4988
4989
4990
4991
4992
4993
4994
4995
4996
4997
4998
4999
5000
5001
5002
5003
5004
5005
5006
5007
5008
5009
5010
5011
5012
5013
5014
5015
5016
5017
5018
5019
5020
5021
5022
5023
5024
5025
5026
5027
5028
5029
5030
5031
5032
5033
5034
5035
5036
5037
5038
5039
5040
5041
5042
5043
5044
5045
5046
5047
5048
5049
5050
5051
5052
5053
5054
5055
5056
5057
5058
5059
5060
5061
5062
5063
5064
5065
5066
5067
5068
5069
5070
5071
5072
5073
5074
5075
5076
5077
5078
5079
5080
5081
5082
5083
5084
5085
5086
5087
5088
5089
5090
5091
5092
5093
5094
5095
5096
5097
5098
5099
5100
5101
5102
5103
5104
5105
5106
5107
5108
5109
5110
5111
5112
5113
5114
5115
5116
5117
5118
5119
5120
5121
5122
5123
5124
5125
5126
5127
5128
5129
5130
5131
5132
5133
5134
5135
5136
5137
5138
5139
5140
5141
5142
5143
5144
5145
5146
5147
5148
5149
5150
5151
5152
5153
5154
5155
5156
5157
5158
5159
5160
5161
5162
5163
5164
5165
5166
5167
5168
5169
5170
5171
5172
5173
5174
5175
5176
5177
5178
5179
5180
5181
5182
5183
5184
5185
5186
5187
5188
5189
5190
5191
5192
5193
5194
5195
5196
5197
5198
5199
5200
5201
5202
5203
5204
5205
5206
5207
5208
5209
5210
5211
5212
5213
5214
5215
5216
5217
5218
5219
5220
5221
5222
5223
5224
5225
5226
5227
5228
5229
5230
5231
5232
5233
5234
5235
5236
5237
5238
5239
5240
5241
5242
5243
5244
5245
5246
5247
5248
5249
5250
5251
5252
5253
5254
5255
5256
5257
5258
5259
5260
5261
5262
5263
5264
5265
5266
5267
5268
5269
5270
5271
5272
5273
5274
5275
5276
5277
5278
5279
5280
5281
5282
5283
5284
5285
5286
5287
5288
5289
5290
5291
5292
5293
5294
5295
5296
5297
5298
5299
5300
5301
5302
5303
5304
5305
5306
5307
5308
5309
5310
5311
5312
5313
5314
5315
5316
5317
5318
5319
5320
5321
5322
5323
5324
5325
5326
5327
5328
5329
5330
5331
5332
5333
5334
5335
5336
5337
5338
5339
5340
5341
5342
5343
5344
5345
5346
5347
5348
5349
5350
5351
5352
5353
5354
5355
5356
5357
5358
5359
5360
5361
5362
5363
5364
5365
5366
5367
5368
5369
5370
5371
5372
5373
5374
5375
5376
5377
5378
5379
5380
5381
5382
5383
5384
5385
5386
5387
5388
5389
5390
5391
5392
5393
5394
5395
5396
5397
5398
5399
5400
5401
5402
5403
5404
5405
5406
5407
5408
5409
5410
5411
5412
5413
5414
5415
5416
5417
5418
5419
5420
5421
5422
5423
5424
5425
5426
5427
5428
5429
5430
5431
5432
5433
5434
5435
5436
5437
5438
5439
5440
5441
5442
5443
5444
5445
5446
5447
5448
5449
5450
5451
5452
5453
5454
5455
5456
5457
5458
5459
5460
5461
5462
5463
5464
5465
5466
5467
5468
5469
5470
5471
5472
5473
5474
5475
5476
5477
5478
5479
5480
5481
5482
5483
5484
5485
5486
5487
5488
5489
5490
5491
5492
5493
5494
5495
5496
5497
5498
5499
5500
5501
5502
5503
5504
5505
5506
5507
5508
5509
5510
5511
5512
5513
5514
5515
5516
5517
5518
5519
5520
5521
5522
5523
5524
5525
5526
5527
5528
5529
5530
5531
5532
5533
5534
5535
5536
5537
5538
5539
5540
5541
5542
5543
5544
5545
5546
5547
5548
5549
5550
5551
5552
5553
5554
5555
5556
5557
5558
5559
5560
5561
5562
5563
5564
5565
5566
5567
5568
5569
5570
5571
5572
5573
5574
5575
5576
5577
5578
5579
5580
5581
5582
5583
5584
5585
5586
5587
5588
5589
5590
5591
5592
5593
5594
5595
5596
5597
5598
5599
5600
5601
5602
5603
5604
5605
5606
5607
5608
5609
5610
5611
5612
5613
5614
5615
5616
5617
5618
5619
5620
5621
5622
5623
5624
5625
5626
5627
5628
5629
5630
5631
5632
5633
5634
5635
5636
5637
5638
5639
5640
5641
5642
5643
5644
5645
5646
5647
5648
5649
5650
5651
5652
5653
5654
5655
5656
5657
5658
5659
5660
5661
5662
5663
5664
5665
5666
5667
5668
5669
5670
5671
5672
5673
5674
5675
5676
5677
5678
5679
5680
5681
5682
5683
5684
5685
5686
5687
5688
5689
5690
5691
5692
5693
5694
5695
5696
5697
5698
5699
5700
5701
5702
5703
5704
5705
5706
5707
5708
5709
5710
5711
5712
5713
5714
5715
5716
5717
5718
5719
5720
5721
5722
5723
5724
5725
5726
5727
5728
5729
5730
5731
5732
5733
5734
5735
5736
5737
5738
5739
5740
5741
5742
5743
5744
5745
5746
5747
5748
5749
5750
5751
5752
5753
5754
5755
5756
5757
5758
5759
5760
5761
5762
5763
5764
5765
5766
5767
5768
5769
5770
5771
5772
5773
5774
5775
5776
5777
5778
5779
5780
5781
5782
5783
5784
5785
5786
5787
5788
5789
5790
5791
5792
5793
5794
5795
5796
5797
5798
5799
5800
5801
5802
5803
5804
5805
5806
5807
5808
5809
5810
5811
5812
5813
5814
5815
5816
5817
5818
5819
5820
5821
5822
5823
5824
5825
5826
5827
5828
5829
5830
5831
5832
5833
5834
5835
5836
5837
5838
5839
5840
5841
5842
5843
5844
5845
5846
5847
5848
5849
5850
5851
5852
5853
5854
5855
5856
5857
5858
5859
5860
5861
5862
5863
5864
5865
5866
5867
5868
5869
5870
5871
5872
5873
5874
5875
5876
5877
5878
5879
5880
5881
5882
5883
5884
5885
5886
5887
5888
5889
5890
5891
5892
5893
5894
5895
5896
5897
5898
5899
5900
5901
5902
5903
5904
5905
5906
5907
5908
5909
5910
5911
5912
5913
5914
5915
5916
5917
5918
5919
5920
5921
5922
5923
5924
5925
5926
5927
5928
5929
5930
5931
5932
5933
5934
5935
5936
5937
5938
5939
5940
5941
5942
5943
5944
5945
5946
5947
5948
5949
5950
5951
5952
5953
5954
5955
5956
5957
5958
5959
5960
5961
5962
5963
5964
5965
5966
5967
5968
5969
5970
5971
5972
5973
5974
5975
5976
5977
5978
5979
5980
5981
5982
5983
5984
5985
5986
5987
5988
5989
5990
5991
5992
5993
5994
5995
5996
5997
5998
5999
6000
6001
6002
6003
6004
6005
6006
6007
6008
6009
6010
6011
6012
6013
6014
6015
6016
6017
6018
6019
6020
6021
6022
6023
6024
6025
6026
6027
6028
6029
6030
6031
6032
6033
6034
6035
6036
6037
6038
6039
6040
6041
6042
6043
6044
6045
6046
6047
6048
6049
6050
6051
6052
6053
6054
6055
6056
6057
6058
6059
6060
6061
6062
6063
6064
6065
6066
6067
6068
6069
6070
6071
6072
6073
6074
6075
6076
6077
6078
6079
6080
6081
6082
6083
6084
6085
6086
6087
6088
6089
6090
6091
6092
6093
6094
6095
6096
6097
6098
6099
6100
6101
6102
6103
6104
6105
6106
6107
6108
6109
6110
6111
6112
6113
6114
6115
6116
6117
6118
6119
6120
6121
6122
6123
6124
6125
6126
6127
6128
6129
6130
6131
6132
6133
6134
6135
6136
6137
6138
6139
6140
6141
6142
6143
6144
6145
6146
6147
6148
6149
6150
6151
6152
6153
6154
6155
6156
6157
6158
6159
6160
6161
6162
6163
6164
6165
6166
6167
6168
6169
6170
6171
6172
6173
6174
6175
6176
6177
6178
6179
6180
6181
6182
6183
6184
6185
6186
6187
6188
6189
6190
6191
6192
6193
6194
6195
6196
6197
6198
6199
6200
6201
6202
6203
6204
6205
6206
6207
6208
6209
6210
6211
6212
6213
6214
6215
6216
6217
6218
6219
6220
6221
6222
6223
6224
6225
6226
6227
6228
6229
6230
6231
6232
6233
6234
6235
6236
6237
6238
6239
6240
6241
6242
6243
6244
6245
6246
6247
6248
6249
6250
6251
6252
6253
6254
6255
6256
6257
6258
6259
6260
6261
6262
6263
6264
6265
6266
6267
6268
6269
6270
6271
6272
6273
6274
6275
6276
6277
6278
6279
6280
6281
6282
6283
6284
6285
6286
6287
6288
6289
6290
6291
6292
6293
6294
6295
6296
6297
6298
6299
6300
6301
6302
6303
6304
6305
6306
6307
6308
6309
6310
6311
6312
6313
6314
6315
6316
6317
6318
6319
6320
6321
6322
6323
6324
6325
6326
6327
6328
6329
6330
6331
6332
6333
6334
6335
6336
6337
6338
6339
6340
6341
6342
6343
6344
6345
6346
6347
6348
6349
6350
6351
6352
6353
6354
6355
6356
6357
6358
6359
6360
6361
6362
6363
6364
6365
6366
6367
6368
6369
6370
6371
6372
6373
6374
6375
6376
6377
6378
6379
6380
6381
6382
6383
6384
6385
6386
6387
6388
6389
6390
6391
6392
6393
6394
6395
6396
6397
6398
6399
6400
6401
6402
6403
6404
6405
6406
6407
6408
6409
6410
6411
6412
6413
6414
6415
6416
6417
6418
6419
6420
6421
6422
6423
6424
6425
6426
6427
6428
6429
6430
6431
6432
6433
6434
6435
6436
6437
6438
6439
6440
6441
6442
6443
6444
6445
6446
6447
6448
6449
6450
6451
6452
6453
6454
6455
6456
6457
6458
6459
6460
6461
6462
6463
6464
6465
6466
6467
6468
6469
6470
6471
6472
6473
6474
6475
6476
6477
6478
6479
6480
6481
6482
6483
6484
6485
6486
6487
6488
The Project Gutenberg EBook of The Evolutionist at Large, by Grant Allen

This eBook is for the use of anyone anywhere at no cost and with
almost no restrictions whatsoever.  You may copy it, give it away or
re-use it under the terms of the Project Gutenberg License included
with this eBook or online at www.gutenberg.org


Title: The Evolutionist at Large

Author: Grant Allen

Release Date: February 1, 2014 [EBook #44820]

Language: English

Character set encoding: ASCII

*** START OF THIS PROJECT GUTENBERG EBOOK THE EVOLUTIONIST AT LARGE ***




Produced by Dianna Adair and the Online Distributed
Proofreading Team at http://www.pgdp.net (This file was
produced from images generously made available by The
Internet Archive)






Transcriber's Note: Minor typographical errors have been corrected
without note. Irregularities and inconsistencies in the text have
been retained as printed. Words printed in italics are noted with
underscores: _italics_. Words printed in bold are noted with
tildes: ~bold~.



    Dear Mother, take this English posy, culled.
          In alien fields beyond the severing sea:
    Take it in memory of the boy you lulled
          One chill Canadian winter on your knee.

    Its flowers are but chance friends of after years,
          Whose very names my childhood hardly knew;
    And even today far sweeter in my ears
          Ring older names unheard long seasons through.

    I loved them all--the bloodroot, waxen white,
          Canopied mayflower, trilliums red and pale,
    Flaunting lobelia, lilies richly dight,
          And pipe-plant from the wood behind the Swale.

    I knew each dell where yellow violets blow,
          Each bud or leaf the changing seasons bring;
    I marked each spot where from the melting snow
          Peeped forth the first hepatica of spring.

    I watched the fireflies on the shingly ridge
          Beside the swamp that bounds the Baron's hill;
    Or tempted sunfish by the ebbing bridge,
          Or hooked a bass by Shirley Going's mill.

    These were my budding fancy's mother-tongue:
          But daisies, cowslips, dodder, primrose-hips,
    All beasts or birds my little book has sung,
          Sit like a borrowed speech on stammering lips.

    And still I build fond dreams of happier days,
          If hard-earned pence may bridge the ocean o'er;
    That yet our boy may see my mother's face,
          And gather shells beside Ontario's shore:

    May yet behold Canadian woodlands dim,
          And flowers and birds his father loved to see;
    While you and I sit by and smile on him,
          As down grey years you sat and smiled on me.

    G. A.




_By the same Author._


PHYSIOLOGICAL AESTHETICS: a Scientific Theory of Beauty (London: C.
KEGAN PAUL & CO.)

THE COLOUR-SENSE: its Origin and Development. An Essay on Comparative
Psychology. (London: TRUeBNER & CO.)




THE EVOLUTIONIST AT LARGE

LONDON: PRINTED BY
SPOTTISWOODE AND CO., NEW-STREET SQUARE
AND PARLIAMENT STREET




THE EVOLUTIONIST AT LARGE


BY

GRANT ALLEN


London
CHATTO & WINDUS, PICCADILLY
1881

_All rights reserved_




PREFACE.


These Essays originally appeared in the columns of the 'St. James's
Gazette,' and I have to thank the courtesy of the Editor for kind
permission to republish them. My object in writing them was to make the
general principles and methods of evolutionists a little more familiar
to unscientific readers. Biologists usually deal with those underlying
points of structure which are most really important, and on which all
technical discussion must necessarily be based. But ordinary people
care little for such minute anatomical and physiological details. They
cannot be expected to interest themselves in the _flexor pollicis
longus_, or the _hippocampus major_ about whose very existence
they are ignorant, and whose names suggest to them nothing but
unpleasant ideas. What they want to find out is how the outward and
visible forms of plants and animals were produced. They would much
rather learn why birds have feathers than why they have a keeled
sternum; and they think the origin of bright flowers far more
attractive than the origin of monocotyledonous seeds or exogenous
stems. It is with these surface questions of obvious outward appearance
that I have attempted to deal in this little series. My plan is to take
a simple and well-known natural object, and give such an explanation as
evolutionary principles afford of its most striking external features.
A strawberry, a snail-shell, a tadpole, a bird, a wayside flower--these
are the sort of things which I have tried to explain. If I have not
gone very deep, I hope at least that I have suggested in simple
language the right way to go to work.

I must make an apology for the form in which the essays are cast, so
far as regards the apparent egotism of the first person. When they
appeared anonymously in the columns of a daily paper, this air of
personality was not so obtrusive: now that they reappear under my own
name, I fear it may prove somewhat too marked. Nevertheless, to cut out
the personal pronoun would be to destroy the whole machinery of the
work: so I have reluctantly decided to retain it, only begging the
reader to bear in mind that the _I_ of the essays is not a real
personage, but the singular number of the editorial _we_.

I have made a few alterations and corrections in some of the papers,
so as to bring the statements into closer accordance with scientific
accuracy. At the same time, I should like to add that I have
intentionally simplified the scientific facts as far as possible. Thus,
instead of saying that the groundsel is a composite, I have said that
it is a daisy by family; and instead of saying that the ascidian larva
belongs to the sub-kingdom Chordata, I have said that it is a first
cousin of the tadpole. For these simplifications, I hope technical
biologists will pardon me. After all, if you wish to be understood, it
is best to speak to people in words whose meanings they know. Definite
and accurate terminology is necessary to express definite and accurate
knowledge; but one may use vague expressions where the definite ones
would convey no ideas.

I have to thank the kindness of my friend the Rev. E. PURCELL, of
Lincoln College, Oxford, for the clever and appropriate design which
appears upon the cover.

G. A.




CONTENTS.


                                                       PAGE

A BALLADE OF EVOLUTION                                    1

    I. MICROSCOPIC BRAINS                                 3

   II. A WAYSIDE BERRY                                   16

  III. IN SUMMER FIELDS                                  25

   IV. A SPRIG OF WATER CROWFOOT                         36

    V. SLUGS AND SNAILS                                  48

   VI. A STUDY OF BONES                                  59

  VII. BLUE MUD                                          67

 VIII. CUCKOO-PINT                                       77

   IX. BERRIES AND BERRIES                               87

    X. DISTANT RELATIONS                                 96

   XI. AMONG THE HEATHER                                105

  XII. SPECKLED TROUT                                   114

 XIII. DODDER AND BROOMRAPE                             124

  XIV. DOG'S MERCURY AND PLANTAIN                       133

   XV. BUTTERFLY PSYCHOLOGY                             142

  XVI. BUTTERFLY AESTHETICS                              153

 XVII. THE ORIGIN OF WALNUTS                            161

XVIII. A PRETTY LAND-SHELL                              172

  XIX. DOGS AND MASTERS                                 181

   XX. BLACKCOCK                                        189

  XXI. BINDWEED                                         198

 XXII. ON CORNISH CLIFFS                                207




_A BALLADE OF EVOLUTION._


    In the mud of the Cambrian main
      Did our earliest ancestor dive:
    From a shapeless albuminous grain
      We mortals our being derive.
    He could split himself up into five,
      Or roll himself round like a ball;
    For the fittest will always survive,
      While the weakliest go to the wall.

    As an active ascidian again
      Fresh forms he began to contrive,
    Till he grew to a fish with a brain,
      And brought forth a mammal alive.
    With his rivals he next had to strive,
      To woo him a mate and a thrall;
    So the handsomest managed to wive,
      While the ugliest went to the wall.

    At length as an ape he was fain
      The nuts of the forest to rive;
    Till he took to the low-lying plain,
      And proceeded his fellow to knive.
    Thus did cannibal men first arrive,
      One another to swallow and maul;
    And the strongest continued to thrive,
      While the weakliest went to the wall.


    ENVOY.

    Prince, in our civilised hive,
      Now money's the measure of all;
    And the wealthy in coaches can drive,
      While the needier go to the wall.




THE EVOLUTIONIST AT LARGE.




I.

_MICROSCOPIC BRAINS._


Sitting on this little rounded boss of gneiss beside the path which
cuts obliquely through the meadow, I am engaged in watching a brigade
of ants out on foraging duty, and intent on securing for the nest three
whole segments of a deceased earthworm. They look for all the world
like those busy companies one sees in the Egyptian wall-paintings,
dragging home a huge granite colossus by sheer force of bone and sinew.
Every muscle in their tiny bodies is strained to the utmost as they
prise themselves laboriously against the great boulders which strew the
path, and which are known to our Brobdingnagian intelligence as grains
of sand. Besides the workers themselves, a whole battalion of
stragglers runs to and fro upon the broad line which leads to the
head-quarters of the community. The province of these stragglers, who
seem so busy doing nothing, probably consists in keeping communications
open, and encouraging the sturdy pullers by occasional relays of fresh
workmen. I often wish that I could for a while get inside those tiny
brains, and see, or rather smell, the world as ants do. For there can
be little doubt that to these brave little carnivores here the universe
is chiefly known as a collective bundle of odours, simultaneous or
consecutive. As our world is mainly a world of visible objects, theirs,
I believe, is mainly a world of olfactible things.

In the head of every one of these little creatures is something that we
may fairly call a brain. Of course most insects have no real brains;
the nerve-substance in their heads is a mere collection of ill-arranged
ganglia, directly connected with their organs of sense. Whatever man
may be, an earwig at least is a conscious, or rather a semi-conscious,
automaton. He has just a few knots of nerve-cells in his little pate,
each of which leads straight from his dim eye or his vague ear or
his indefinite organs of taste; and his muscles obey the promptings
of external sensations without possibility of hesitation or
consideration, as mechanically as the valve of a steam-engine obeys the
governor-balls. You may say of him truly, 'Nihil est in intellectu quod
non fuerit in sensu;' and you need not even add the Leibnitzian saving
clause, 'nisi ipse intellectus;' for the poor soul's intellect is
wholly deficient, and the senses alone make up all that there is of
him, subjectively considered. But it is not so with the highest
insects. They have something which truly answers to the real brain of
men, apes, and dogs, to the cerebral hemispheres and the cerebellum
which are superadded in us mammals upon the simple sense-centres of
lower creatures. Besides the eye, with its optic nerve and optic
perceptive organs--besides the ear, with its similar mechanism--we
mammalian lords of creation have a higher and more genuine brain, which
collects and compares the information given to the senses, and sends
down the appropriate messages to the muscles accordingly. Now, bees and
flies and ants have got much the same sort of arrangement, on a smaller
scale, within their tiny heads. On top of the little knots which do
duty as nerve-centres for their eyes and mouths, stand two stalked bits
of nervous matter, whose duty is analogous to that of our own brains.
And that is why these three sorts of insects think and reason so much
more intellectually than beetles or butterflies, and why the larger
part of them have organised their domestic arrangements on such an
excellent co-operative plan.

We know well enough what forms the main material of thought with bees
and flies, and that is visible objects. For you must think about
_something_ if you think at all; and you can hardly imagine a
contemplative blow-fly setting itself down to reflect, like a Hindu
devotee, on the syllable Om, or on the oneness of existence. Abstract
ideas are not likely to play a large part in apian consciousness. A bee
has a very perfect eye, and with this eye it can see not only form, but
also colour, as Sir John Lubbock's experiments have shown us. The
information which it gets through its eye, coupled with other ideas
derived from touch, smell, and taste, no doubt makes up the main
thinkable and knowable universe as it reveals itself to the apian
intelligence. To ourselves and to bees alike the world is, on the
whole, a coloured picture, with the notions of distance and solidity
thrown in by touch and muscular effort; but sight undoubtedly plays the
first part in forming our total conception of things generally.

What, however, forms the thinkable universe of these little ants
running to and fro so eagerly at my feet? That is a question which used
long to puzzle me in my afternoon walks. The ant has a brain and an
intelligence, but that brain and that intelligence must have been
developed out of _something_. _Ex nihilo nihil fit._ You cannot think
and know if you have nothing to think about. The intelligence of the
bee and the fly was evolved in the course of their flying about and
looking at things: the more they flew, and the more they saw, the more
they knew; and the more brain they got to think with. But the ant does
not generally fly, and, as with most comparatively unlocomotive
animals, its sight is bad. True, the winged males and females have
retained in part the usual sharp eyes of their class--for they are
first cousins to the bees--and they also possess three little eyelets
or _ocelli_, which are wanting to the wingless neuters. Without these
they would never have found one another in their courtship, and they
would have run their heads against the nearest tree, or rushed down the
gaping throat of the first expectant swallow, and so effectually
extinguished their race. Flying animals cannot do without eyes, and
they always possess the most highly developed vision of any living
creatures. But the wingless neuters are almost blind--in some species
quite so; and Sir John Lubbock has shown that their appreciation of
colour is mostly confined to an aversion to red light, and a
comparative endurance of blue. Moreover, they are apparently deaf, and
most of their other senses seem little developed. What can be the raw
material on which that pin's head of a brain sets itself working? For,
small as it is, it is a wonderful organ of intellect; and though Sir
John Lubbock has shown us all too decisively that the originality and
inventive genius of ants have been sadly overrated by Solomon and
others, yet Darwin is probably right none the less in saying that no
more marvellous atom of matter exists in the universe than this same
wee lump of microscopic nerve substance.

My dog Grip, running about on the path there, with his nose to the
ground, and sniffing at every stick and stone he meets on his way,
gives us the clue to solve the problem. Grip, as Professor Croom
Robertson suggests, seems capable of extracting a separate and
distinguishable smell from everything. I have only to shy a stone on
the beach among a thousand other stones, and my dog, like a well-bred
retriever as he is, selects and brings back to me that individual stone
from all the stones around, by exercise of his nose alone. It is plain
that Grip's world is not merely a world of sights, but a world of
smells as well. He not only smells smells, but he remembers smells, he
thinks smells, he even dreams smells, as you may see by his sniffing
and growling in his sleep. Now, if I were to cut open Grip's head
(which heaven forfend), I should find in it a correspondingly big
smell-nerve and smell-centre--an olfactory lobe, as the anatomists say.
All the accumulated nasal experiences of his ancestors have made that
lobe enormously developed. But in a man's head you would find a very
large and fine optic centre, and only a mere shrivelled relic to
represent the olfactory lobes. You and I and our ancestors have had but
little occasion for sniffing and scenting; our sight and our touch have
done duty as chief intelligencers from the outer world; and the nerves
of smell, with their connected centres, have withered away to the
degenerate condition in which they now are. Consequently, smell plays
but a small part in our thought and our memories. The world that we
know is chiefly a world of sights and touches. But in the brain of dog,
or deer, or antelope, smell is a prevailing faculty; it colours all
their ideas, and it has innumerable nervous connections with every part
of their brain. The big olfactory lobes are in direct communication
with a thousand other nerves; odours rouse trains of thought or
powerful emotions in their minds just as visible objects do in our own.

Now, in the dog or the horse sight and smell are equally developed; so
that they probably think of most things about equally in terms of each.
In ourselves, sight is highly developed, and smell is a mere relic; so
that we think of most things in terms of sight alone, and only rarely,
as with a rose or a lily, in terms of both. But in ants, on the
contrary, smell is highly developed and sight a mere relic; so that
they probably think of most things as smellable only, and very little
as visible in form or colour. Dr. Bastian has shown that bees and
butterflies are largely guided by scent; and though he is certainly
wrong in supposing that sight has little to do with leading them to
flowers (for if you cut off the bright-coloured corolla they will never
discover the mutilated blossoms, even when they visit others on the
same plant), yet the mere fact that so many flowers are scented is by
itself enough to show that perfume has a great deal to do with the
matter. In wingless ants, while the eyes have undergone degeneration,
this high sense of smell has been continued and further developed, till
it has become their principal sense-endowment, and the chief raw
material of their intelligence. Their active little brains are almost
wholly engaged in correlating and co-ordinating smells with actions.
Their olfactory nerves give them nearly all the information they can
gain about the external world, and their brains take in this
information and work out the proper movements which it indicates. By
smell they find their way about and carry on the business of their
lives. Just as you and I know the road from Regent's Circus to Pall
Mall by visible signs of the street-corners and the Duke of York's
Column, so these little ants know the way from the nest to the corpse
of the dismembered worm by observing and remembering the smells which
they met with on their way. See: I obliterate the track for an inch or
two with my stick, and the little creatures go beside themselves with
astonishment and dismay. They rush about wildly, inquiring of one
another with their antennae whether this is really Doomsday, and whether
the whole course of nature has been suddenly revolutionised. Then,
after a short consultation, they determine upon action; and every ant
starts off in a different direction to hunt the lost track, head to the
ground, exactly as a pointer hunts the missing trail of a bird or hare.
Each ventures an inch or so off, and then runs back to find the rest,
for fear he should get isolated altogether. At last, after many
failures, one lucky fellow hits upon the well-remembered train of
scents, and rushes back leaving smell-tracks no doubt upon the soil
behind him. The message goes quickly round from post to post, each
sentry making passes with his antennae to the next picket, and so
sending on the news to the main body in the rear. Within five minutes
communications are re-established, and the precious bit of worm-meat
continues triumphantly on its way along the recovered path. An
ingenious writer would even have us believe that ants possess a
scent-language of their own, and emit various odours from their antennae
which the other ants perceive with theirs, and recognise as distinct in
meaning. Be this as it may, you cannot doubt, if you watch them long,
that scents and scents alone form the chief means by which they
recollect and know one another, or the external objects with which they
come in contact. The whole universe is clearly to them a complicated
picture made up entirely of infinite interfusing smells.




II.

_A WAYSIDE BERRY._


Half-hidden in the luxuriant growth of leaves and flowers that drape
the deep side of this green lane, I have just espied a little picture
in miniature, a tall wild strawberry-stalk with three full red berries
standing out on its graceful branchlets. There are glossy
hart's-tongues on the matted bank, and yellow hawkweeds, and bright
bunches of red campion; but somehow, amid all that wealth of shape and
colour, my eye falls and rests instinctively upon the three little
ruddy berries, and upon nothing else. I pick the single stalk from the
bank and hold it here in my hands. The origin and development of these
pretty bits of red pulp is one of the many curious questions upon which
modern theories of life have cast such a sudden and unexpected flood of
light. What makes the strawberry stalk grow out into this odd and
brightly coloured lump, bearing its small fruits embedded on its
swollen surface? Clearly the agency of those same small birds who have
been mainly instrumental in dressing the haw in its scarlet coat, and
clothing the spindle-berries with their two-fold covering of crimson
doublet and orange cloak.

In common language we speak of each single strawberry as a fruit. But
it is in reality a collection of separate fruits, the tiny yellow-brown
grains which stud its sides being each of them an individual little
nut; while the sweet pulp is, in fact, no part of the true fruit at
all, but merely a swollen stalk. There is a white potentilla so like a
strawberry blossom that even a botanist must look closely at the plant
before he can be sure of its identity. While they are in flower the two
heads remain almost indistinguishable; but when the seed begins to set
the potentilla develops only a collection of dry fruitlets, seated upon
a green receptacle, the bed or soft expansion which hangs on to the
'hull' or calyx. Each fruitlet consists of a thin covering, enclosing a
solitary seed. You may compare one of them separately to a plum, with
its single kernel, only that in the plum the covering is thick and
juicy, while in the potentilla and the fruitlets of the strawberry it
is thin and dry. An almond comes still nearer to the mark. Now the
potentilla shows us, as it were, the primitive form of the strawberry.
But in the developed ripe strawberry as we now find it the fruitlets
are not crowded upon a green receptacle. After flowering, the
strawberry receptacle lengthens and broadens, so as to form a roundish
mass of succulent pulp; and as the fruitlets approach maturity this
sour green pulp becomes soft, sweet, and red. The little seed-like
fruits, which are the important organs, stand out upon its surface like
mere specks; while the comparatively unimportant receptacle is all that
we usually think of when we talk about strawberries. After our usual
Protagorean fashion we regard man as the measure of all things, and pay
little heed to any part of the compound fruit-cluster save that which
ministers directly to our own tastes.

But why does the strawberry develop this large mass of apparently
useless matter? Simply in order the better to ensure the dispersion of
its small brown fruitlets. Birds are always hunting for seeds and
insects along the hedge-rows, and devouring such among them as contain
any available foodstuff. In most cases they crush the seeds to pieces
with their gizzards, and digest and assimilate their contents. Seeds of
this class are generally enclosed in green or brown capsules, which
often escape the notice of the birds, and so succeed in perpetuating
their species. But there is another class of plants whose members
possess hard and indigestible seeds, and so turn the greedy birds from
dangerous enemies into useful allies. Supposing there was by chance,
ages ago, one of these primitive ancestral strawberries, whose
receptacle was a little more pulpy than usual, and contained a small
quantity of sugary matter, such as is often found in various parts of
plants; then it might happen to attract the attention of some hungry
bird, which, by eating the soft pulp, would help in dispersing the
indigestible fruitlets. As these fruitlets sprang up into healthy young
plants, they would tend to reproduce the peculiarity in the structure
of the receptacle which marked the parent stock, and some of them would
probably display it in a more marked degree. These would be sure to get
eaten in their turn, and so to become the originators of a still more
pronounced strawberry type. As time went on, the largest and sweetest
berries would constantly be chosen by the birds, till the whole species
began to assume its existing character. The receptacle would become
softer and sweeter, and the fruits themselves harder and more
indigestible: because, on the one hand, all sour or hard berries would
stand a poorer chance of getting dispersed in good situations for their
growth, while, on the other hand, all soft-shelled fruitlets would be
ground up and digested by the bird, and thus effectually prevented from
ever growing into future plants. Just in like manner, many tropical
nuts have extravagantly hard shells, as only those survive which can
successfully defy the teeth and hands of the clever and persistent
monkey.

This accounts for the strawberry being sweet and pulpy, but not for its
being red. Here, however, a similar reason comes into play. All
ripening fruits and opening flowers have a natural tendency to grow
bright red, or purple, or blue, though in many of them the tendency is
repressed by the dangers attending brilliant displays of colour. This
natural habit depends upon the oxidation of their tissues, and is
exactly analogous to the assumption of autumn tints by leaves. If a
plant, or part of a plant, is injured by such a change of colour,
through being rendered more conspicuous to its foes, it soon loses the
tendency under the influence of natural selection; in other words,
those individuals which most display it get killed out, while those
which least display it survive and thrive. On the other hand, if
conspicuousness is an advantage to the plant, the exact opposite
happens, and the tendency becomes developed into a confirmed habit.
This is the case with the strawberry, as with many other fruits. The
more bright-coloured the berry is, the better its chance of getting its
fruitlets dispersed. Birds have quick eyes for colour, especially for
red and white; and therefore almost all edible berries have assumed one
or other of these two hues. So long as the fruitlets remain unripe, and
would therefore be injured by being eaten, the pulp remains sour,
green, and hard; but as soon as they have become fit for dispersion it
grows soft, fills with sugary juice, and acquires its ruddy outer
flesh. Then the birds see and recognise it as edible, and govern
themselves accordingly.

But if this is the genesis of the strawberry, asks somebody, why have
not all the potentillas and the whole strawberry tribe also become
berries of the same type? Why are there still potentilla fruit-clusters
which consist of groups of dry seed-like nuts? Ay, there's the rub.
Science cannot answer as yet. After all, these questions are still in
their infancy, and we can scarcely yet do more than discover a single
stray interpretation here and there. In the present case a botanist can
only suggest either that the potentilla finds its own mode of
dispersion equally well adapted to its own peculiar circumstances, or
else that the lucky accident, the casual combination of circumstances,
which produced the first elongation of the receptacle in the strawberry
has never happened to befall its more modest kinsfolk. For on such
occasional freaks of nature the whole evolution of new varieties
entirely depends. A gardener may raise a thousand seedlings, and only
one or none among them may present a single new and important feature.
So a species may wait for a thousand years, or for ever, before its
circumstances happen to produce the first step towards some desirable
improvement. One extra petal may be invaluable to a five-rayed flower
as effecting some immense saving of pollen in its fertilisation; and
yet the 'sport' which shall give it this sixth ray may never occur, or
may be trodden down in the mire and destroyed by a passing cow.




III.

_IN SUMMER FIELDS._


Grip and I have come out for a morning stroll among the close-cropped
pastures beside the beck, in the very centre of our green little
dingle. Here I can sit, as is my wont, on a dry knoll, and watch the
birds, beasts, insects, and herbs of the field, while Grip scours the
place in every direction, intent, no doubt, upon those more practical
objects--mostly rats, I fancy--which possess a congenial interest for
the canine intelligence. From my coign of vantage on the knoll I can
take care that he inflicts no grievous bodily injury upon the sheep,
and that he receives none from the quick-tempered cow with the
brass-knobbed horns. For a kind of ancestral feud seems to smoulder for
ever between Grip and the whole race of kine, breaking out every now
and then into open warfare, which calls for my prompt interference, in
an attitude of armed but benevolent neutrality, merely for the friendly
purpose of keeping the peace.

This ancient feud, I imagine, is really ancestral, and dates many ages
further back in time than Grip's individual experiences. Cows hate dogs
instinctively, from their earliest calfhood upward. I used to doubt
once upon a time whether the hatred was not of artificial origin and
wholly induced by the inveterate human habit of egging on every dog to
worry every other animal that comes in its way. But I tried a mild
experiment one day by putting a half-grown town-bred puppy into a small
enclosure with some hitherto unworried calves, and they all turned to
make a common headway against the intruder with the same striking
unanimity as the most ancient and experienced cows. Hence I am inclined
to suspect that the antipathy does actually result from a vaguely
inherited instinct derived from the days when the ancestor of our kine
was a wild bull, and the ancestor of our dogs a wolf, on the wide
forest-clad plains of Central Europe. When a cow puts up its tail at
sight of a dog entering its paddock at the present day, it has probably
some dim instinctive consciousness that it stands in the presence of a
dangerous hereditary foe; and as the wolves could only seize with
safety a single isolated wild bull, so the cows now usually make common
cause against the intruding dog, turning their heads in one direction
with very unwonted unanimity, till his tail finally disappears under
the opposite gate. Such inherited antipathies seem common and natural
enough. Every species knows and dreads the ordinary enemies of its
race. Mice scamper away from the very smell of a cat. Young chickens
run to the shelter of their mother's wings when the shadow of a hawk
passes over their heads. Mr. Darwin put a small snake into a paper bag,
which he gave to the monkeys at the Zoo; and one monkey after another
opened the bag, looked in upon the deadly foe of the quadrumanous kind,
and promptly dropped the whole package with every gesture of horror and
dismay. Even man himself--though his instincts have all weakened so
greatly with the growth of his more plastic intelligence, adapted to a
wider and more modifiable set of external circumstances--seems to
retain a vague and original terror of the serpentine form.

If we think of parallel cases, it is not curious that animals should
thus instinctively recognise their natural enemies. We are not
surprised that they recognise their own fellows: and yet they must do
so by means of some equally strange automatic and inherited mechanism
in their nervous system. One butterfly can tell its mates at once from
a thousand other species, though it may differ from some of them only
by a single spot or line, which would escape the notice of all but the
most attentive observers. Must we not conclude that there are elements
in the butterfly's feeble brain exactly answering to the blank picture
of its specific type? So, too, must we not suppose that in every race
of animals there arises a perceptive structure specially adapted to the
recognition of its own kind? Babies notice human faces long before they
notice any other living thing. In like manner we know that most
creatures can judge instinctively of their proper food. One young bird
just fledged naturally pecks at red berries; another exhibits an
untaught desire to chase down grasshoppers; a third, which happens to
be born an owl, turns at once to the congenial pursuit of small
sparrows, mice, and frogs. Each species seems to have certain faculties
so arranged that the sight of certain external objects, frequently
connected with food in their ancestral experience, immediately arouses
in them the appropriate actions for its capture. Mr. Douglas Spalding
found that newly-hatched chickens darted rapidly and accurately at
flies on the wing. When we recollect that even so late an acquisition
as articulate speech in human beings has its special physical seat in
the brain, it is not astonishing that complicated mechanisms should
have arisen among animals for the due perception of mates, food, and
foes respectively. Thus, doubtless, the serpent form has imprinted
itself indelibly on the senses of monkeys, and the wolf or dog form on
those of cows: so that even with a young ape or calf the sight of these
their ancestral enemies at once calls up uneasy or terrified feelings
in their half-developed minds. Our own infants in arms have no personal
experience of the real meaning to be attached to angry tones, yet they
shrink from the sound of a gruff voice even before they have learned to
distinguish their nurse's face.

When Grip gets among the sheep, their hereditary traits come out in a
very different manner. They are by nature and descent timid mountain
animals, and they have never been accustomed to face a foe, as cows and
buffaloes are wont to do, especially when in a herd together. You
cannot see many traces of the original mountain life among sheep, and
yet there are still a few remaining to mark their real pedigree. Mr.
Herbert Spencer has noticed the fondness of lambs for frisking on a
hillock, however small; and when I come to my little knoll here, I
generally find it occupied by a couple, who rush away on my approach,
but take their stand instead on the merest ant-hill which they can find
in the field. I once knew three young goats, kids of a mountain breed,
and the only elevated object in the paddock where they were kept was a
single old elm stump. For the possession of this stump the goats fought
incessantly; and the victor would proudly perch himself on the top,
with all four legs inclined inward (for the whole diameter of the tree
was but some fifteen inches), maintaining himself in his place with the
greatest difficulty, and butting at his two brothers until at last he
lost his balance and fell. This one old stump was the sole
representative in their limited experience of the rocky pinnacle upon
which their forefathers kept watch like sentinels; and their
instinctive yearnings prompted them to perch themselves upon the only
available memento of their native haunts. Thus, too, but in a dimmer
and vaguer way, the sheep, especially during his younger days, loves to
revert, so far as his small opportunities permit him, to the
unconsciously remembered habits of his race. But in mountain countries,
every one must have noticed how the sheep at once becomes a different
being. On the Welsh hills he casts away all the dull and heavy serenity
of his brethren on the South Downs, and displays once more the freedom,
and even the comparative boldness, of a mountain breed. A
Merionethshire ewe thinks nothing of running up one side of a
low-roofed barn and down the other, or of clearing a stone wall which a
Leicestershire farmer would consider extravagantly high.

Another mountain trait in the stereotyped character of sheep is their
well-known sequaciousness. When Grip runs after them they all run away
together: if one goes through a certain gap in the hedge, every other
follows; and if the leader jumps the beck at a certain spot, every lamb
in the flock jumps in the self-same place. It is said that if you hold
a stick for the first sheep to leap over, and then withdraw it, all the
succeeding sheep will leap with mathematical accuracy at the
corresponding point; and this habit is usually held up to ridicule as
proving the utter stupidity of the whole race. It really proves nothing
but the goodness of their ancestral instincts. For mountain animals,
accustomed to follow a leader, that leader being the bravest and
strongest ram of the flock, must necessarily follow him with the most
implicit obedience. He alone can see what obstacles come in the way;
and each of the succeeding train must watch and imitate the actions of
their predecessors. Otherwise, if the flock happens to come to a chasm,
running as they often must with some speed, any individual which
stopped to look and decide for itself before leaping would inevitably
be pushed over the edge by those behind it, and so would lose all
chance of handing down its cautious and sceptical spirit to any
possible descendants. On the other hand, those uninquiring and blindly
obedient animals which simply did as they saw others do would both
survive themselves and become the parents of future and similar
generations. Thus there would be handed down from dam to lamb a general
tendency to sequaciousness--a follow-my-leader spirit, which was really
the best safeguard for the race against the evils of insubordination,
still so fatal to Alpine climbers. And now that our sheep have settled
down to a tame and monotonous existence on the downs of Sussex or the
levels of the Midlands, the old instinct clings to them still, and
speaks out plainly for their mountain origin. There are few things in
nature more interesting to notice than these constant survivals of
instinctive habits in altered circumstances. They are to the mental
life what rudimentary organs are to the bodily structure: they remind
us of an older order of things, just as the abortive legs of the
blind-worm show us that he was once a lizard, and the hidden shell of
the slug that he was once a snail.




IV.

_A SPRIG OF WATER CROWFOOT._


The little streamlet whose tiny ranges and stickles form the middle
thread of this green combe in the Dorset downs is just at present
richly clad with varied foliage. Tall spikes of the yellow flag rise
above the slow-flowing pools, while purple loose-strife overhangs the
bank, and bunches of the arrowhead stand high out of their watery home,
just unfolding their pretty waxen white flowers to the air. In the
rapids, on the other hand, I find the curious water crowfoot, a spray
of which I have this moment pulled out of the stream and am now holding
in my hand as I sit on the little stone bridge, with my legs dangling
over the pool below, known to me as the undoubted residence of a pair
of trout. It is a queer plant, this crowfoot, with its two distinct
types of leaves, much cleft below and broad above; and I often wonder
why so strange a phenomenon has attracted such very scant attention.
But then we knew so little of life in any form till the day before
yesterday that perhaps it is not surprising we should still have left
so many odd problems quite untouched.

This problem of the shape of leaves certainly seems to me a most
important one; and yet it has hardly been even recognised by our
scientific pastors and masters. At best, Mr. Herbert Spencer devotes to
it a passing short chapter, or Mr. Darwin a stray sentence. The
practice of classifying plants mainly by means of their flowers has
given the flower a wholly factitious and overwrought importance.
Besides, flowers are so pretty, and we cultivate them so largely, with
little regard to the leaves, that they have come to usurp almost the
entire interest of botanists and horticulturists alike. Darwinism
itself has only heightened this exclusive interest by calling attention
to the reciprocal relations which exist between the honey-bearing
blossom and the fertilising insect, the bright-coloured petals and the
myriad facets of the butterfly's eye. Yet the leaf is after all the
real plant, and the flower is but a sort of afterthought, an embryo
colony set apart for the propagation of like plants in future. Each
leaf is in truth a separate individual organism, united with many
others into a compound community, but possessing in full its own mouths
and digestive organs, and carrying on its own life to a great extent
independently of the rest. It may die without detriment to them; it may
be lopped off with a few others as a cutting, and it continues its
life-cycle quite unconcerned. An oak tree in full foliage is a
magnificent group of such separate individuals--a whole nation in
miniature: it may be compared to a branched coral polypedom covered
with a thousand little insect workers, while each leaf answers rather
to the separate polypes themselves. The leaves are even capable of
producing new individuals by what they contribute to the buds on every
branch; and the seeds which the tree as a whole produces are to be
looked upon rather as the founders of fresh colonies, like the swarms
of bees, than as fresh individuals alone. Every plant community, in
short, both adds new members to its own commonwealth, and sends off
totally distinct germs to form new commonwealths elsewhere. Thus the
leaf is, in truth, the central reality of the whole plant, while the
flower exists only for the sake of sending out a shipload of young
emigrants every now and then to try their fortunes in some unknown
soil.

The whole life-business of a leaf is, of course, to eat and grow, just
as these same functions form the whole life-business of a caterpillar
or a tadpole. But the way a plant eats, we all know, is by taking
carbon and hydrogen from air and water under the influence of sunlight,
and building them up into appropriate compounds in its own body.
Certain little green worms or convoluta have the same habit, and live
for the most part cheaply off sunlight, making starch out of carbonic
acid and water by means of their enclosed chlorophyll, exactly as if
they were leaves. Now, as this is what a leaf has to do, its form will
almost entirely depend upon the way it is affected by sunlight and the
elements around it--except, indeed, in so far as it may be called upon
to perform other functions, such as those of defence or defiance. This
crowfoot is a good example of the results produced by such agents. Its
lower leaves, which grow under water, are minutely subdivided into
little branching lance-like segments; while its upper ones, which raise
their heads above the surface, are broad and united, like the common
crowfoot type. How am I to account for these peculiarities? I fancy
somehow thus:--

Plants which live habitually under water almost always have thin, long,
pointed leaves, often thread-like or mere waving filaments. The reason
for this is plain enough. Gases are not very abundant in water, as it
only holds in solution a limited quantity of oxygen and carbonic acid.
Both of these the plant needs, though in varying quantities: the carbon
to build up its starch, and the oxygen to use up in its growth.
Accordingly, broad and large leaves would starve under water: there is
not material enough diffused through it for them to make a living from.
But small, long, waving leaves which can move up and down in the stream
would manage to catch almost every passing particle of gaseous matter,
and to utilise it under the influence of sunlight. Hence all plants
which live in fresh water, and especially all plants of higher rank,
have necessarily acquired such a type of leaf. It is the only form in
which growth can possibly take place under their circumstances. Of
course, however, the particular pattern of leaf depends largely upon
the ancestral form. Thus this crowfoot, even in its submerged leaves,
preserves the general arrangement of ribs and leaflets common to the
whole buttercup tribe. For the crowfoot family is a large and eminently
adaptable race. Some of them are larkspurs and similar queerly-shaped
blossoms; others are columbines which hang their complicated bells on
dry and rocky hillsides; but the larger part are buttercups or marsh
marigolds which have simple cup-shaped flowers, and mostly frequent low
and marshy ground. One of these typical crowfoots under stress of
circumstances--inundation, or the like--took once upon a time to living
pretty permanently in the water. As its native meadows grew deeper and
deeper in flood it managed from year to year to assume a more nautical
life. So, while its leaf necessarily remained in general structure a
true crowfoot leaf, it was naturally compelled to split itself up into
thinner and narrower segments, each of which grew out in the direction
where it could find most stray carbon atoms, and most sunlight, without
interference from its neighbours. This, I take it, was the origin of
the much-divided lower leaves.

But a crowfoot could never live permanently under water. Seaweeds and
their like, which propagate by a kind of spores, may remain below the
surface for ever; but flowering plants for the most part must come up
to the open air to blossom. The sea-weeds are in the same position as
fish, originally developed in the water and wholly adapted to it,
whereas flowering plants are rather analogous to seals and whales,
air-breathing creatures, whose ancestors lived on land, and who can
themselves manage an aquatic existence only by frequent visits to the
surface. So some flowering water-plants actually detach their male
blossoms altogether, and let them float loose on the top of the water;
while they send up their female flowers by means of a spiral coil, and
draw them down again as soon as the wind or the fertilising insects
have carried the pollen to its proper receptacle, so as to ripen their
seeds at leisure beneath the pond. Similarly, you may see the arrowhead
and the water-lilies sending up their buds to open freely in the air,
or loll at ease upon the surface of the stream. Thus the crowfoot, too,
cannot blossom to any purpose below the water; and as such among its
ancestors as at first tried to do so must of course have failed in
producing any seed, they and their kind have died out for ever; while
only those lucky individuals whose chance lot it was to grow a little
taller and weedier than the rest, and so overtop the stream, have
handed down their race to our own time.

But as soon as the crowfoot finds itself above the level of the river,
all the causes which made its leaf like those of other aquatic plants
have ceased to operate. The new leaves which sprout in the air meet
with abundance of carbon and sunlight on every side; and we know that
plants grow fast just in proportion to the supply of carbon. They have
pushed their way into an unoccupied field, and they may thrive apace
without let or hindrance. So, instead of splitting up into little
lance-like leaflets, they loll on the surface, and spread out broader
and fuller, like the rest of their race. The leaf becomes at once a
broad type of crowfoot leaf. Even the ends of the submerged leaves,
when any fall of the water in time of drought raises them above the
level, have a tendency (as I have often noticed) to grow broader and
fatter, with increased facilities for food; but when the whole leaf
rises from the first to the top the inherited family instinct finds
full play for its genius, and the blades fill out as naturally as
well-bred pigs. The two types of leaf remind one much of gills and
lungs respectively.

But above water, as below it, the crowfoot remains in principle a
crowfoot still. The traditions of its race, acquired in damp marshy
meadows, not actually under water, cling to it yet in spite of every
change. Born river and pond plants which rise to the surface, like the
water-lily or the duck-weed, have broad floating leaves that contrast
strongly with the waving filaments of wholly submerged species. They
can find plenty of food everywhere, and as the sunlight falls flat upon
them, they may as well spread out flat to catch the sunlight. No other
elbowing plants overtop them and appropriate the rays, so compelling
them to run up a useless waste of stem in order to pocket their fair
share of the golden flood. Moreover, they thus save the needless
expense of a stout leaf-stalk, as the water supports their lolling
leaves and blossoms; while the broad shade which they cast on the
bottom below prevents the undue competition of other species. But the
crowfoot, being by descent a kind of buttercup, has taken to the water
for a few hundred generations only, while the water-lily's ancestors
have been to the manner born for millions of years; and therefore it
happens that the crowfoot is at heart but a meadow buttercup still. One
glance at its simple little flower will show you that in a moment.




V.

_SLUGS AND SNAILS._


Hoeing among the flower-beds on my lawn this morning--for I am a bit of
a gardener in my way--I have had the ill-luck to maim a poor yellow
slug, who had hidden himself among the encroaching grass on the edge of
my little parterre of sky-blue lobelias. This unavoidable wounding and
hacking of worms and insects, despite all one's care, is no small
drawback to the pleasures of gardening _in propria persona_.
Vivisection for genuine scientific purposes in responsible hands, one
can understand and tolerate, even though lacking the heart for it
oneself; but the useless and causeless vivisection which cannot be
prevented in every ordinary piece of farm-work seems a gratuitous blot
upon the face of beneficent nature. My only consolation lies in the
half-formed belief that feeling among these lower creatures is
indefinite, and that pain appears to affect them far less acutely than
it affects warm-blooded animals. Their nerves are so rudely distributed
in loose knots all over the body, instead of being closely bound
together into a single central system as with ourselves, that they can
scarcely possess a consciousness of pain at all analogous to our own. A
wasp whose head has been severed from its body and stuck upon a pin,
will still greedily suck up honey with its throatless mouth; while an
Italian mantis, similarly treated, will calmly continue to hunt and
dart at midges with its decapitated trunk and limbs, quite forgetful of
the fact that it has got no mandibles left to eat them with. These
peculiarities lead one to hope that insects may feel pain less than we
fear. Yet I dare scarcely utter the hope, lest it should lead any
thoughtless hearer to act upon the very questionable belief, as they
say even the amiable enthusiasts of Port Royal acted upon the doctrine
that animals were mere unconscious automata, by pushing their theory to
the too practical length of active cruelty. Let us at least give the
slugs and beetles the benefit of the doubt. People often say that
science makes men unfeeling: for my own part, I fancy it makes them
only the more humane, since they are the better able dimly to figure to
themselves the pleasures and pains of humbler beings as they really
are. The man of science perhaps realises more vividly than all other
men the inner life and vague rights even of crawling worms and ugly
earwigs.

I will take up this poor slug whose mishap has set me preaching, and
put him out of his misery at once, if misery it be. My hoe has cut
through the soft flesh of the mantle and hit against the little
embedded shell. Very few people know that a slug has a shell, but it
has, though quite hidden from view; at least, in this yellow kind--for
there are other sorts which have got rid of it altogether. I am not
sure that I have wounded the poor thing very seriously; for the shell
protects the heart and vital organs, and the hoe has glanced off on
striking it, so that the mantle alone is injured, and that by no means
irrecoverably. Snail flesh heals fast, and on the whole I shall be
justified, I think, in letting him go. But it is a very curious thing
that this slug should have a shell at all! Of course it is by descent a
snail, and, indeed, there are very few differences between the two
races except in the presence or absence of a house. You may trace a
curiously complete set of gradations between the perfect snail and the
perfect slug in this respect; for all the intermediate forms still
survive with only an almost imperceptible gap between each species and
the next. Some kinds, like the common brown garden snail, have
comparatively small bodies and big shells, so that they can retire
comfortably within them when attacked; and if they only had a lid or
door to their houses they could shut themselves up hermetically, as
periwinkles and similar mollusks actually do. Other kinds, like the
pretty golden amber-snails which frequent marshy places, have a body
much too big for its house, so that they cannot possibly retire within
their shells completely. Then come a number of intermediate species,
each with progressively smaller and thinner shells, till at length we
reach the testacella, which has only a sort of limpet-shaped shield on
his tail, so that he is generally recognised as being the first of the
slugs rather than the last of the snails. You will not find a
testacella unless you particularly look for him, for he seldom comes
above ground, being a most bloodthirsty subterraneous carnivore who
follows the burrows of earthworms as savagely as a ferret tracks those
of rabbits; but in all the southern and western counties you may light
upon stray specimens if you search carefully in damp places under
fallen leaves. Even in testacella, however, the small shell is still
external. In this yellow slug here, on the contrary, it does not show
itself at all, but is buried under the closely wrinkled skin of the
glossy mantle. It has become a mere saucer, with no more symmetry or
regularity than an oyster-shell. Among the various kinds of slugs, you
may watch this relic or rudiment gradually dwindling further and
further towards annihilation; till finally, in the great fat black
slugs which appear so plentifully on the roads after summer showers, it
is represented only by a few rough calcareous grains, scattered up and
down through the mantle; and sometimes even these are wanting. The
organs which used to secrete the shell in their remote ancestors have
either ceased to work altogether or are reduced to performing a useless
office by mere organic routine.

The reason why some mollusks have thus lost their shells is clear
enough. Shells are of two kinds, calcareous and horny. Both of them
require more or less lime or other mineral matters, though in varying
proportions. Now, the snails which thrive best on the bare chalk downs
behind my little combe belong to that pretty banded black-and-white
sort which everybody must have noticed feeding in abundance on all
chalk soils. Indeed, Sussex farmers will tell you that South Down
mutton owes its excellence to these fat little mollusks, not to the
scanty herbage of their thin pasture-lands. The pretty banded shells in
question are almost wholly composed of lime, which the snails can, of
course, obtain in any required quantity from the chalk. In most
limestone districts you will similarly find that snails with calcareous
shells predominate. But if you go into a granite or sandstone tract you
will see that horny shells have it all their own way. Now, some snails
with such houses took to living in very damp and marshy places, which
they were naturally apt to do--as indeed the land-snails in a body are
merely pond-snails which have taken to crawling up the leaves of
marsh-plants, and have thus gradually acclimatised themselves to a
terrestrial existence. We can trace a perfectly regular series from the
most aquatic to the most land-loving species, just as I have tried to
trace a regular series from the shell-bearing snails to the shell-less
slugs. Well, when the earliest common ancestor of both these last-named
races first took to living above water, he possessed a horny shell
(like that of the amber-snail), which his progenitors used to
manufacture from the mineral matters dissolved in their native streams.
Some of the younger branches descended from this primaeval land-snail
took to living on very dry land, and when they reached chalky districts
manufactured their shells, on an easy and improved principle, almost
entirely out of lime. But others took to living in moist and boggy
places, where mineral matter was rare, and where the soil consisted for
the most part of decaying vegetable mould. Here they could get little
or no lime, and so their shells grew smaller and smaller, in proportion
as their habits became more decidedly terrestrial. But to the last, as
long as any shell at all remained, it generally covered their hearts
and other important organs; because it would there act as a special
protection, even after it had ceased to be of any use for the defence
of the animal's body as a whole. Exactly in the same way men specially
protected their heads and breasts with helmets and cuirasses, before
armour was used for the whole body, because these were the places where
a wound would be most dangerous; and they continued to cover these
vulnerable spots in the same manner even when the use of armour had
been generally abandoned. My poor mutilated slug, who is just now
crawling off contentedly enough towards the hedge, would have been cut
in two outright by my hoe had it not been for that solid calcareous
plate of his, which saved his life as surely as any coat of mail.

How does it come, though, that slugs and snails now live together in
the self-same districts? Why, because they each live in their own way.
Slugs belong by origin to very damp and marshy spots; but in the fierce
competition of modern life they spread themselves over comparatively
dry places, provided there is long grass to hide in, or stones under
which to creep, or juicy herbs like lettuce, among whose leaves are
nice moist nooks wherein to lurk during the heat of the day. Moreover,
some kinds of slugs are quite as well protected from birds (such as
ducks) by their nauseous taste as snails are by their shells. Thus it
happens that at present both races may be discovered in many hedges and
thickets side by side. But the real home of each is quite different.
The truest and most snail-like snails are found in greatest abundance
upon high chalk-downs, heathy limestone hills, and other comparatively
dry places; while the truest and most slug-like slugs are found in
greatest abundance among low water-logged meadows, or under the damp
fallen leaves of moist copses. The intermediate kinds inhabit the
intermediate places. Yet to the last even the most thorough-going
snails retain a final trace of their original water-haunting life, in
their universal habit of seeking out the coolest and moistest spots of
their respective habitats. The soft-fleshed mollusks are all by nature
aquatic animals, and nothing can induce them wholly to forget the old
tradition of their marine or fresh-water existence.




VI.

_A STUDY OF BONES._


On the top of this bleak chalk down, where I am wandering on a dull
afternoon, I light upon the blanched skeleton of a crow, which I need
not fear to handle, as its bones have been first picked clean by
carrion birds, and then finally purified by hungry ants, time, and
stormy weather. I pick a piece of it up in my hands, and find that I
have got hold of its clumped tail-bone. A strange fragment truly, with
a strange history, which I may well spell out as I sit to rest a minute
upon the neighbouring stile. For this dry tail-bone consists, as I can
see at a glance, of several separate vertebrae, all firmly welded
together into a single piece. They must once upon a time have been real
disconnected jointed vertebrae, like those of the dog's or lizard's
tail; and the way in which they have become fixed fast into a solid
mass sheds a world of light upon the true nature and origin of birds,
as well as upon many analogous cases elsewhere.

When I say that these bones were once separate, I am indulging in no
mere hypothetical Darwinian speculation. I refer, not to the race, but
to the particular crow in person. These very pieces themselves, in
their embryonic condition, were as distinct as the individual bones of
the bird's neck or of our own spines. If you were to examine the chick
in the egg you would find them quite divided. But as the young crow
grows more and more into the typical bird-pattern, this lizard-like
peculiarity fades away, and the separate pieces unite by 'anastomosis'
into a single 'coccygean bone,' as the osteologists call it. In all our
modern birds, as in this crow, the vertebrae composing the tail-bone are
few in number, and are soldered together immovably in the adult form.
It was not always so, however, with ancestral birds. The earliest known
member of the class--the famous fossil bird of the Solenhofen
lithographic stone--retained throughout its whole life a long flexible
tail, composed of twenty unwelded vertebrae, each of which bore a single
pair of quill-feathers, the predecessors of our modern pigeon's train.
There are many other marked reptilian peculiarities in this primitive
oolitic bird; and it apparently possessed true teeth in its jaws, as
its later cretaceous kinsmen discovered by Professor Marsh undoubtedly
did. When we compare side by side those real flying dragons, the
Pterodactyls, together with the very birdlike Deinosaurians, on the one
hand, and these early toothed and lizard-tailed birds on the other, we
can have no reasonable doubt in deciding that our own sparrows and
swallows are the remote feathered descendants of an original reptilian
or half-reptilian ancestor.

Why modern birds have lost their long flexible tails it is not
difficult to see. The tail descends to all higher vertebrates as an
heirloom from the fishes, the amphibia, and their other aquatic
predecessors. With these it is a necessary organ of locomotion in
swimming, and it remains almost equally useful to the lithe and gliding
lizard on land. Indeed, the snake is but a lizard who has substituted
this wriggling motion for the use of legs altogether; and we can trace
a gradual succession from the four-legged true lizards, through
snake-like forms with two legs and wholly rudimentary legs, to the
absolutely limbless serpents themselves. But to flying birds, on the
contrary, a long bony tail is only an inconvenience. All that they need
is a little muscular knob for the support of the tail-feathers, which
they employ as a rudder in guiding their flight upward or downward, to
right or left. The elongated waving tail of the Solenhofen bird, with
its single pair of quills, must have been a comparatively ineffectual
and clumsy piece of mechanism for steering an aerial creature through
its novel domain. Accordingly, the bones soon grew fewer in number and
shorter in length, while the feathers simultaneously arranged
themselves side by side upon the terminal hump. As early as the time
when our chalk was deposited, the bird's tail had become what it is at
the present day--a single united bone, consisting of a few scarcely
distinguishable crowded rings. This is the form it assumes in the
toothed fossil birds of Western America. But, as if to preserve the
memory of their reptilian origin, birds in their embryo stage still go
on producing separate caudal vertebrae, only to unite them together at a
later point of their development into the typical coccygean bone.

Much the same sort of process has taken place in the higher apes, and,
as Mr. Darwin would assure us, in man himself. There the long
prehensile tail of the monkeys has grown gradually shorter, and, being
at last coiled up under the haunches, has finally degenerated into an
insignificant and wholly embedded terminal joint. But, indeed, we can
find traces of a similar adaptation to circumstances everywhere. Take,
for instance, the common English amphibians. The newt passes all its
life in the water, and therefore always retains its serviceable tail as
a swimming organ. The frog in its tadpole state is also aquatic, and it
swims wholly by means of its broad and flat rudder-like appendage. But
as its legs bud out and it begins to fit itself for a terrestrial
existence, the tail undergoes a rapid atrophy, and finally fades away
altogether. To a hopping frog on land, such a long train would be a
useless drag, while in the water its webbed feet and muscular legs make
a satisfactory substitute for the lost organ. Last of all, the
tree-frog, leading a specially terrestrial life, has no tadpole at all,
but emerges from the egg in the full frog-like shape. As he never lives
in the water, he never feels the need of a tail.

The edible crab and lobster show us an exactly parallel case amongst
crustaceans. Everybody has noticed that a crab's body is practically
identical with a lobster's, only that in the crab the body-segments are
broad and compact, while the tail, so conspicuous in its kinsman, is
here relatively small and tucked away unobtrusively behind the legs.
This difference in construction depends entirely upon the habits and
manners of the two races. The lobster lives among rocks and ledges; he
uses his small legs but little for locomotion, but he springs
surprisingly fast and far through the water by a single effort of his
powerful muscular tail. As to his big fore-claws, those, we all know,
are organs of prehension and weapons of offence, not pieces of
locomotive mechanism. Hence the edible and muscular part of a lobster
is chiefly to be found in the claws and tail, the latter having
naturally the firmest and strongest flesh. The crab, on the other hand,
lives on the sandy bottom, and walks about on its lesser legs, instead
of swimming or darting through the water by blows of its tail, like the
lobster or the still more active prawn and shrimp. Hence the crab's
tail has dwindled away to a mere useless historical relic, while the
most important muscles in its body are those seated in the network of
shell just above its locomotive legs. In this case, again, it is clear
that the appendage has disappeared because the owner had no further use
for it. Indeed, if one looks through all nature, one will find the
philosophy of tails eminently simple and utilitarian. Those animals
that need them evolve them; those animals that do not need them never
develop them; and those animals that have once had them, but no longer
use them for practical purposes, retain a mere shrivelled rudiment as a
lingering reminiscence of their original habits.




VII.

_BLUE MUD._


After last night's rain, the cliffs that bound the bay have come out in
all their most brilliant colours; so this morning I am turning my steps
seaward, and wandering along the great ridge of pebbles which here
breaks the force of the Channel waves as they beat against the long
line of the Dorset downs. Our cliffs just at this point are composed of
blue lias beneath, with a capping of yellow sandstone on their summits,
above which in a few places the layer of chalk that once topped the
whole country-side has still resisted the slow wear and tear of
unnumbered centuries. These three elements give a variety to the bold
and broken bluffs which is rare along the monotonous southern
escarpment of the English coast. After rain, especially, the changes of
colour on their sides are often quite startling in their vividness and
intensity. To-day, for example, the yellow sandstone is tinged in parts
with a deep russet red, contrasting admirably with the bright green of
the fields above and the sombre steel-blue of the lias belt below.
Besides, we have had so many landslips along this bit of shore, that
the various layers of rock have in more than one place got mixed up
with one another into inextricable confusion. The little town nestling
in the hollow behind me has long been famous as the head-quarters of
early geologists; and not a small proportion of the people earn their
livelihood to the present day by 'goin' a fossiling.' Every child about
the place recognises ammonites as 'snake-stones;' while even the rarer
vertebrae of extinct saurians have acquired a local designation as
'verterberries.' So, whether in search of science or the picturesque, I
often clamber down in this direction for my daily stroll, particularly
when, as is the case to-day, the rain has had time to trickle through
the yellow rock, and the sun then shines full against its face, to
light it up with a rich flood of golden splendour.

The base of the cliffs consists entirely of a very soft and plastic
blue lias mud. This mud contains large numbers of fossils, chiefly
chambered shells, but mixed with not a few relics of the great swimming
and flying lizards that swarmed among the shallow flats or low islands
of the lias sea. When the blue mud was slowly accumulating in the
hollows of the ancient bottom, these huge saurians formed practically
the highest race of animals then existing upon earth. There were, it is
true, a few primaeval kangaroo-mice and wombats among the rank brushwood
of the mainland; and there may even have been a species or two of
reptilian birds, with murderous-looking teeth and long lizard-like
tails--descendants of those problematical creatures which printed their
footmarks on the American trias, and ancestors of the later toothed
bird whose tail-feathers have been naturally lithographed for us on the
Solenhofen slate. But in spite of such rare precursors of higher modern
types, the saurian was in fact the real lord of earth in the lias ocean.

    For him did his high sun flame, and his river billowing ran,
    And he felt himself in his pride to be nature's crowning race.

We have adopted an easy and slovenly way of dividing all rocks into
primary, secondary, and tertiary, which veils from us the real
chronological relations of evolving life in the different periods. The
lias is ranked by geologists among the earliest secondary formations:
but if we were to distribute all the sedimentary rocks into ten great
epochs, each representing about equal duration in time, the lias would
really fall in the tenth and latest of all. So very misleading to the
ordinary mind is our accepted geological nomenclature. Nay, even
commonplace geologists themselves often overlook the real implications
of many facts and figures which they have learned to quote glibly
enough in a certain off-hand way. Let me just briefly reconstruct the
chief features of this scarcely recognised world's chronology as I sit
on this piece of fallen chalk at the foot of the mouldering cliff,
where the stream from the meadow above brought down the newest landslip
during the hard frosts of last December. First of all, there is the
vast lapse of time represented by the Laurentian rocks of Canada. These
Laurentian rocks, the oldest in the world, are at least 30,000 feet in
thickness, and it must be allowed that it takes a reasonable number of
years to accumulate such a mass of solid limestone or clay as that at
the bottom of even the widest primaeval ocean. In these rocks there are
no fossils, except a single very doubtful member of the very lowest
animal type. But there are indirect traces of life in the shape of
limestone probably derived from shells, and of black lead probably
derived from plants. All these early deposits have been terribly
twisted and contorted by subsequent convulsions of the earth, and most
of them have been melted down by volcanic action; so that we can tell
very little about their original state. Thus the history of life opens
for us, like most other histories, with a period of uncertainty: its
origin is lost in the distant vistas of time. Still, we know that there
_was_ such an early period; and from the thickness of the rocks which
represent it we may conjecture that it spread over three out of the ten
great aeons into which I have roughly divided geological time. Next
comes the period known as the Cambrian, and to it we may similarly
assign about two and a half aeons on like grounds. The Cambrian epoch
begins with a fair sprinkling of the lower animals and plants,
presumably developed during the preceding age; but it shows no remains
of fish or any other vertebrates. To the Silurian, Devonian, and
Carboniferous periods we may roughly allow an aeon and a fraction each:
while to the whole group of secondary and tertiary strata, comprising
almost all the best-known English formations--red marl, lias, oolite,
greensand, chalk, eocene, miocene, pliocene, and drift--we can only
give a single aeon to be divided between them. Such facts will
sufficiently suggest how comparatively modern are all these rocks when
viewed by the light of an absolute chronology. Now, the first fishes do
not occur till the Silurian--that is to say, in or about the seventh
aeon after the beginning of geological time. The first mammals are found
in the trias, at the beginning of the tenth aeon. And the first known
bird only makes its appearance in the oolite, about half-way through
that latest period. This will show that there was plenty of time for
their development in the earlier ages. True, we must reckon the
interval between ourselves and the date of this blue mud at many
millions of years; but then we must reckon the interval between the
lias and the earliest Cambrian strata at some six times as much, and
between the lias and the lowest Laurentian beds at nearly ten times as
much. Just the same sort of lessening perspective exists in geology as
in ordinary history. Most people look upon the age before the Norman
Conquest as a mere brief episode of the English annals; yet six whole
centuries elapsed between the landing of the real or mythical Hengst at
Ebbsfleet and the landing of William the Conqueror at Hastings; while
under eight centuries elapsed between the time of William the Conqueror
and the accession of Queen Victoria. But, just as most English
histories give far more space to the three centuries since Elizabeth
than to the eleven centuries which preceded them, so most books on
geology give far more space to the single aeon (embracing the secondary
and tertiary periods) which comes nearest our own time, than to the
nine aeons which spread from the Laurentian to the Carboniferous epoch.
In the earliest period, records either geological or historical are
wholly wanting; in the later periods they become both more numerous and
more varied in proportion as they approach nearer and nearer to our own
time.

So too, in the days when Mr. Darwin first took away the breath of
scientific Europe by his startling theories, it used confidently to be
said that geology had shown us no intermediate form between species and
species. Even at the time when this assertion was originally made it
was quite untenable. All early geological forms, of whatever race,
belong to what we foolishly call 'generalised' types: that is to say,
they present a mixture of features now found separately in several
different animals. In other words, they represent early ancestors of
all the modern forms, with peculiarities intermediate between those of
their more highly differentiated descendants; and hence we ought to
call them 'unspecialised' rather than 'generalised' types. For example,
the earliest ancestral horse is partly a horse and partly a tapir: we
may regard him as a _tertium quid_, a middle term, from which the horse
has varied in one direction and the tapir in another, each of them
exaggerating certain special peculiarities of the common ancestor and
losing others, in accordance with the circumstances in which they have
been placed. Science is now perpetually discovering intermediate forms,
many of which compose an unbroken series between the unspecialised
ancestral type and the familiar modern creatures. Thus, in this very
case of the horse, Professor Marsh has unearthed a long line of fossil
animals which lead in direct descent from the extremely unhorse-like
eocene type to the developed Arab of our own times. Similarly with
birds, Professor Huxley has shown that there is hardly any gap between
the very bird-like lizards of the lias and the very lizard-like birds
of the oolite. Such links, discovered afresh every day, are perpetual
denials to the old parrot-like cry of 'No geological evidence for
evolution.'




VIII.

_CUCKOO-PINT._


In the bank which supports the hedge, beside this little hanger on
the flank of Black Down, the glossy arrow-headed leaves of the common
arum form at this moment beautiful masses of vivid green foliage.
'Cuckoo-pint' is the pretty poetical old English name for the plant;
but village children know it better by the equally quaint and fanciful
title of 'lords and ladies.' The arum is not now in flower: it
blossomed much earlier in the season, and its queer clustered fruits
are just at present swelling out into rather shapeless little
light-green bulbs, preparatory to assuming the bright coral-red hue
which makes them so conspicuous among the hedgerows during the autumn
months. A cut-and-dry technical botanist would therefore have little to
say to it in its present stage, because he cares only for the flowers
and seeds which help him in his dreary classifications, and give him so
splendid an opportunity for displaying the treasures of his Latinised
terminology. But to me the plant itself is the central point of
interest, not the names (mostly in bad Greek) by which this or that
local orchid-hunter has endeavoured to earn immortality.

This arum, for example, grows first from a small hard seed with a
single lobe or seed-leaf. In the seed there is a little store of starch
and albumen laid up by the mother-plant, on which the young arum feeds,
just as truly as the growing chick feeds on the white which surrounds
its native yolk, or as you and I feed on the similar starches and
albumens laid by for the use of the young plant in the grain of wheat,
or for the young fowl in the egg. Full-grown plants live by taking in
food-stuffs from the air under the influence of sunlight: but a young
seedling can no more feed itself than a human baby can; and so food is
stored up for it beforehand by the parent stock. As the kernel swells
with heat and moisture, its starches and albumens get oxidised and
produce the motions and rearrangements of particles that result in the
growth of a new plant. First a little head rises towards the sunlight
and a little root pushes downward towards the moist soil beneath. The
business of the root is to collect water for the circulating
medium--the sap or blood of the plant--as well as a few mineral matters
required for its stem and cells; but the business of the head is to
spread out into leaves, which are the real mouths and stomachs of the
compound organism. For we must never forget that all plants mainly
grow, not, as most people suppose, from the earth, but from the air.
They are for the most part mere masses of carbon-compounds, and the
carbon in them comes from the carbonic acid diffused through the
atmosphere around, and is separated by the sunlight acting in the
leaves. There it mixes with small quantities of hydrogen and nitrogen
brought by the roots from soil and water; and the starches or other
bodies thus formed are then conveyed by the sap to the places where
they will be required in the economy of the plant system. That is the
all-important fact in vegetable physiology, just as the digestion and
assimilation of food and the circulation of the blood are in our own
bodies.

The arum, like the grain of wheat, has only a single seed-leaf; whereas
the pea, as we all know, has two. This is the most fundamental
difference among flowering plants, as it points back to an early and
deep-seated mode of growth, about which they must have split off from
one another millions of years ago. All the one-lobed plants grow with
stems like grasses or bamboos, formed by single leaves enclosing
another; all the double-lobed plants grow with stems like an oak,
formed of concentric layers from within outward. As soon as the arum,
with its sprouting head, has raised its first leaves far enough above
the ground to reach the sunlight, it begins to form fresh starches and
new leaves for itself, and ceases to be dependent upon the store laid
up in its buried lobe. Most seeds accordingly contain just enough
material to support the young seedling till it is in a position to
shift for itself; and this, of course, varies greatly with the habits
and manners of the particular species. Some plants, too, such as the
potato, find their seeds insufficient to keep up the race by
themselves, and so lay by abundant starches in underground branches or
tubers, for the use of new shoots; and these rich starch receptacles we
ourselves generally utilise as food-stuffs, to the manifest detriment
of the young potato-plants, for whose benefit they were originally
intended. Well, the arum has no such valuable reserve as that; it is
early cast upon its own resources, and so it shifts for itself with
resolution. Its big, glossy leaves grow apace, and soon fill out, not
only with green chlorophyll, but also with a sharp and pungent essence
which makes them burn the mouth like cayenne pepper. This acrid juice
has been acquired by the plant as a defence against its enemies. Some
early ancestor of the arums must have been liable to constant attacks
from rabbits, goats, or other herbivorous animals, and it has adopted
this means of repelling their advances. In other words, those arums
which were most palatable to the rabbits got eaten up and destroyed,
while those which were nastiest survived, and handed down their
pungency to future generations. Just in the same way nettles have
acquired their sting and thistles their prickles, which efficiently
protect them against all herbivores except the patient, hungry donkey,
who gratefully accepts them as a sort of _sauce piquante_ to the
succulent stems.

And now the arum begins its great preparations for the act of
flowering. Everybody knows the general shape of the arum blossom--if
not in our own purple cuckoo-pint, at least in the big white 'AEthiopian
lilies' which form such frequent ornaments of cottage windows. Clearly,
this is a flower which the plant cannot produce without laying up a
good stock of material beforehand. So it sets to work accumulating
starch in its root. This starch it manufactures in its leaves, and then
buries deep underground in a tuber, by means of the sap, so as to
secure it from the attacks of rodents, who too frequently appropriate
to themselves the food intended by plants for other purposes. If you
examine the tuber before the arum has blossomed, you will find it large
and solid; but if you dig it up in the autumn after the seeds have
ripened, you will see that it is flaccid and drained; all its starches
and other contents have gone to make up the flower, the fruit, and the
stalk which bore them. But the tuber has a further protection against
enemies besides its deep underground position. It contains an acrid
juice like that of the leaves, which sufficiently guards it against
four-footed depredators. Man, however, that most persistent of
persecutors, has found out a way to separate the juice from the starch;
and in St. Helena the big white arum is cultivated as a food-plant, and
yields the meal in common use among the inhabitants.

When the arum has laid by enough starch to make a flower it begins to
send up a tall stalk, on the top of which grows the curious hooded
blossom known to be one of the earliest forms still surviving upon
earth. But now its object is to attract, not to repel, the animal
world; for it is an insect-fertilised flower, and it requires the aid
of small flies to carry the pollen from blossom to blossom. For this
purpose it has a purple sheath around its head of flowers and a tall
spike on which they are arranged in two clusters, the male blossoms
above and the female below. This spike is bright yellow in the
cultivated species. The fertilisation is one of the most interesting
episodes in all nature, but it would take too long to describe here in
full. The flies go from one arum to another, attracted by the colour,
in search of pollen; and the pistils, or female flowers, ripen first.
Then the pollen falls from the stamens or male flowers on the bodies of
the flies, and dusts them all over with yellow powder. The insects,
when once they have entered, are imprisoned until the pollen is ready
to drop, by means of several little hairs, pointing downwards, and
preventing their exit on the principle of an eel-trap or lobster-pot.
But as soon as the pollen is discharged the hairs wither away, and then
the flies are free to visit a second arum. Here they carry the
fertilising dust with which they are covered to the ripe pistils, and
so enable them to set their seed; but, instead of getting away again as
soon as they have eaten their fill, they are once more imprisoned by
the lobster-pot hairs, and dusted with a second dose of pollen, which
they carry away in turn to a third blossom.

As soon as the pistils have been impregnated, the fruits begin to set.
Here they are, on their tall spike, whose enclosing sheath has now
withered away, while the top is at this moment slowly dwindling, so
that only the cluster of berries at its base will finally remain. The
berries will swell and grow soft, till in autumn they become a
beautiful scarlet cluster of living coral. Then once more their object
will be to attract the animal world, this time in the shape of
field-mice, squirrels, and small birds; but with a more treacherous
intent. For though the berries are beautiful and palatable enough they
are deadly poison. The robins or small rodents which eat them,
attracted by their bright colours and pleasant taste, not only aid in
dispersing them, but also die after swallowing them, and become huge
manure heaps for the growth of the young plant. So the whole cycle of
arum existence begins afresh, and there is hardly a plant in the field
around me which has not a history as strange as this one.




IX.

_BERRIES AND BERRIES._


This little chine, opening toward the sea through the blue lias cliffs,
has been worn to its present pretty gorge-like depth by the slow action
of its tiny stream--a mere thread of water in fine weather, that
trickles down its centre in a series of mossy cascades to the shingly
beach below. Its sides are overgrown by brambles and other prickly
brushwood, which form in places a matted and impenetrable mass: for it
is the habit of all plants protected by the defensive armour of spines
or thorns to cluster together in serried ranks, through which cattle or
other intrusive animals cannot break. Amongst them, near the down
above, I have just lighted upon a rare plant for Southern Britain--a
wild raspberry-bush in full fruit. Raspberries are common enough in
Scotland among heaps of stones on the windiest hillsides; but the south
of England is too warm and sickly for their robust tastes, and they can
only be found here in a few bleak spots like the stony edges of this
weather-beaten down above the chine. The fruit itself is quite as good
as the garden variety, for cultivation has added little to the native
virtues of the raspberry. Good old Izaak Walton is not ashamed to quote
a certain quaint saying of one Dr. Boteler concerning strawberries, and
so I suppose I need not be afraid to quote it after him. 'Doubtless,'
said the Doctor, 'God _could_ have made a better berry, but doubtless
also God never did.' Nevertheless, if you try the raspberry, picked
fresh, with plenty of good country cream, you must allow that it runs
its sister fruit a neck-and-neck race.

To compare the structure of a raspberry with that of a strawberry is a
very instructive botanical study. It shows how similar causes may
produce the same gross result in singularly different ways. Both are
roses by family, and both have flowers essentially similar to that of
the common dog-rose. But even in plants where the flowers are alike,
the fruits often differ conspicuously, because fresh principles come
into play for the dispersion and safe germination of the seed. This
makes the study of fruits the most complicated part in the unravelling
of plant life. After the strawberry has blossomed, the pulpy receptacle
on which it bore its green fruitlets begins to swell and redden, till
at length it grows into an edible berry, dotted with little yellow
nuts, containing each a single seed. But in the raspberry it is the
separate fruitlets themselves which grow soft and bright-coloured,
while the receptacle remains white and tasteless, forming the 'hull'
which we pull off from the berry when we are going to eat it. Thus the
part of the raspberry which we throw away answers to the part of the
strawberry which we eat. Only, in the raspberry the separate fruitlets
are all crowded close together into a single united mass, while in the
strawberry they are scattered about loosely, and embedded in the soft
flesh of the receptacle. The blackberry is another close relative; but
in its fruit the little pulpy fruitlets cling to the receptacle, so
that we pick and eat them both together; whereas in the raspberry the
receptacle pulls out easily, and leaves a thimble-shaped hollow in the
middle of the berry. Each of these little peculiarities has a special
meaning of its own in the history of the different plants.

Yet the main object attained by all is in the end precisely similar.
Strawberries, raspberries, and blackberries all belong to the class of
attractive fruits. They survive in virtue of the attention paid to them
by birds and small animals. Just as the wild strawberry which I picked
in the hedgerow the other day procures the dispersion of its hard and
indigestible fruitlets by getting them eaten together with the pulpy
receptacle, so does the raspberry procure the dispersion of its soft
and sugary fruitlets by getting them eaten all by themselves. While the
strawberry fruitlets retain throughout their dry outer coating, in
those of the raspberry the external covering becomes fleshy and red,
but the inner seed has, notwithstanding, a still harder shell than the
tiny nuts of the strawberry. Now, this is the secret of nine fruits out
of ten. They are really nuts, which clothe themselves in an outer tunic
of sweet and beautifully coloured pulp. The pulp, as it were, the plant
gives in, as an inducement to the friendly bird to swallow its seed;
but the seed itself it protects by a hard stone or shell, and often by
poisonous or bitter juices within. We see this arrangement very
conspicuously in a plum, or still better in a mango; though it is
really just as evident in the raspberry, where the smaller size renders
it less conspicuous to human sight.

It is a curious fact about the rose family that they have a very marked
tendency to produce such fleshy fruits, instead of the mere dry
seed-vessels of ordinary plants, which are named fruits only by
botanical courtesy. For example, we owe to this single family the
peach, plum, apricot, cherry, damson, pear, apple, medlar, and quince,
all of them cultivated in gardens or orchards for their fruits. The
minor group known by the poetical name of Dryads, alone supplies us
with the strawberry, raspberry, blackberry, and dewberry. Even the
wilder kinds, refused as food by man, produce berries well known to our
winter birds--the haw, rose-hip, sloe, bird-cherry, and rowan. On the
other hand, the whole tribe numbers but a single thoroughgoing nut--the
almond; and even this nut, always somewhat soft-shelled and inclined to
pulpiness, has produced by a 'sport' the wholly fruit-like nectarine.
The odd thing about the rose tribe, however, is this: that the pulpy
tendency shows itself in very different parts among the various
species. In the plum it is the outer covering of the true fruit which
grows soft and coloured: in the apple it is a swollen mass of the
fruit-stalk surrounding the ovules: in the rose-hip it is the hollowed
receptacle: and in the strawberry it is the same receptacle, bulging
out in the opposite direction. Such a general tendency to display
colour and collect sugary juices in so many diverse parts may be
compared to the general bulbous tendency of the tiger-lily or the
onion, and to the general succulent tendency of the cactus or the
house-leek. In each case, the plant benefits by it in one form or
another; and whichever form happens to get the start in any particular
instance is increased and developed by natural selection, just as
favourable varieties of fruits or flowers are increased and developed
in cultivated species by our own gardeners.

Sweet juices and bright colours, however, could be of no use to a plant
till there were eyes to see and tongues to taste them. A pulpy fruit is
in itself a mere waste of productive energy to its mother, unless the
pulpiness aids in the dispersion and promotes the welfare of the young
seedlings. Accordingly, we might naturally expect that there would be
no fruit-bearers on the earth until the time when fruit-eaters, actual
or potential, arrived upon the scene: or, to put it more correctly,
both must inevitably have developed simultaneously and in mutual
dependence upon one another. So we find no traces of succulent fruits
even in so late a formation as that of these lias or cretaceous cliffs.
The birds of that day were fierce-toothed carnivores, devouring the
lizards and saurians of the rank low-lying sea-marshes: the mammals
were mostly primaeval kangaroos or low ancestral wombats, gentle
herbivores, or savage marsupial wolves, like the Tasmanian devil of our
own times. It is only in the very modern tertiary period, whose soft
muddy deposits have not yet had time to harden under superincumbent
pressure into solid stone, that we find the earliest traces of the rose
family, the greatest fruit-bearing tribe of our present world. And side
by side with them we find their clever arboreal allies, the ancestral
monkeys and squirrels, the primitive robins, and the yet shadowy
forefathers of our modern fruit-eating parrots. Just as bees and
butterflies necessarily trace back their geological history only to the
time of the first honey-bearing flowers, and just as the honey-bearing
flowers in turn trace back their pedigree only to the date of the
rudest and most unspecialised honey-sucking insects, so are fruits and
fruit-eaters linked together in origin by the inevitable bond of a
mutual dependence. No bee, no honey; and no honey, no bee: so, too, no
fruit, no fruit-bird; and no fruit-bird, no fruit.




X.

_DISTANT RELATIONS._


Behind the old mill, whose overshot wheel, backed by a wall thickly
covered with the young creeping fronds of hart's-tongue ferns, forms
such a picturesque foreground for the view of our little valley, the
mill-stream expands into a small shallow pond, overhung at its edges by
thick-set hazel-bushes and clambering honeysuckle. Of course it is only
dammed back by a mud wall, with sluices for the miller's water-power;
but it has a certain rustic simplicity of its own, which makes it
beautiful to our eyes for all that, in spite of its utilitarian origin.
At the bottom of this shallow pond you may now see a miracle daily
taking place, which but for its commonness we should regard as an
almost incredible marvel. You may there behold evolution actually
illustrating the transformation of life under your very eyes: you may
watch a low type of gill-breathing gristly-boned fish developing into
the highest form of lung-breathing terrestrial amphibian. Nay,
more--you may almost discover the earliest known ancestor of the whole
vertebrate kind, the first cousin of that once famous ascidian larva,
passing through all the upward stages of existence which finally lead
it to assume the shape of a relatively perfect four-legged animal. For
the pond is swarming with fat black tadpoles, which are just at this
moment losing their tails and developing their legs, on the way to
becoming fully formed frogs.

The tadpole and the ascidian larva divide between them the honour of
preserving for us in all its native simplicity the primitive aspect of
the vertebrate type. Beasts, birds, reptiles, and fishes have all
descended from an animal whose shape closely resembled that of these
wriggling little black creatures which dart up and down like imps
through the clear water, and raise a cloud of mud above their heads
each time that they bury themselves comfortably in the soft mud of the
bottom. But while the birds and beasts, on the one hand, have gone on
bettering themselves out of all knowledge, and while the ascidian, on
the other hand, in his adult form has dropped back into an obscure and
sedentary life--sans eyes, sans teeth, sans taste, sans everything--the
tadpole alone, at least during its early days, remains true to the
ancestral traditions of the vertebrate family. When first it emerges
from its egg it represents the very most rudimentary animal with a
backbone known to our scientific teachers. It has a big hammer-looking
head, and a set of branching outside gills, and a short distinct body,
and a long semi-transparent tail. Its backbone is a mere gristly
channel, in which lies its spinal cord. As it grows, it resembles in
every particular the ascidian larva, with which, indeed, Kowalewsky and
Professor Ray Lankester have demonstrated its essential identity. But
since a great many people seem wrongly to imagine that Professor
Lankester's opinion on this matter is in some way at variance with Mr.
Darwin's and Dr. Haeckel's, it may be well to consider what the
degeneracy of the ascidian really means. The fact is, both larval
forms--that of the frog and that of the ascidian--completely agree in
the position of their brains, their gill-slits, their very rudimentary
backbones, and their spinal cords. Moreover, we ourselves and the
tadpole agree with the ascidian in a further most important point,
which no invertebrate animal shares with us; and that is that our eyes
grow out of our brains, instead of being part of our skin, as in
insects and cuttle-fish. This would seem _a priori_ a most inconvenient
place for an eye--inside the brain; but then, as Professor Lankester
cleverly suggests, our common original ancestor, the very earliest
vertebrate of all, must have been a transparent creature, and therefore
comparatively indifferent as to the part of his body in which his eye
happened to be placed. In after ages, however, as vertebrates generally
got to have thicker skulls and tougher skins, the eye-bearing part of
the brain had to grow outward, and so reach the light on the surface of
the body: a thing which actually happens to all birds, beasts, and
reptiles in the course of their embryonic development. So that in this
respect the ascidian larva is nearer to the original type than the
tadpole or any other existing animal.

The ascidian, however, in mature life, has grown degraded and fallen
from his high estate, owing to his bad habit of rooting himself to a
rock and there settling down into a mere sedentary swallower of passing
morsels--a blind, handless, footless, and degenerate thing. In his
later shape he is but a sack fixed to a stone, and with all his limbs
and higher sense-organs so completely atrophied that only his earlier
history allows us to recognise him as a vertebrate by descent at all.
He is in fact a representative of retrogressive development. The
tadpole, on the contrary, goes on swimming about freely, and keeping
the use of its eyes, till at last a pair of hind legs and then a pair
of fore legs begin to bud out from its side, and its tail fades away,
and its gills disappear, and air-breathing lungs take their place, and
it boldly hops on shore a fully evolved tailless amphibian.

There is, however, one interesting question about these two larvae which
I should much like to solve. The ascidian has only _one_ eye inside its
useless brain, while the tadpole and all other vertebrates have _two_
from the very first. Now which of us most nearly represents the old
mud-loving vertebrate ancestor in this respect? Have two original
organs coalesced in the young ascidian, or has one organ split up into
a couple with the rest of the class? I think the latter is the true
supposition, and for this reason: In our heads, and those of all
vertebrates, there is a curious cross-connection between the eyes and
the brain, so that the right optic nerve goes to the left side of the
brain and the left optic nerve goes to the right side. In higher
animals, this 'decussation,' as anatomists call it, affects all the
sense-organs except those of smell; but in fishes it only affects the
eyes. Now, as the young ascidian has retained the ancestral position of
his almost useless eye so steadily, it is reasonable to suppose that he
has retained its other peculiarities as well. May we not conclude,
therefore, that the primitive vertebrate had only one brain-eye; but
that afterwards, as this brain-eye grew outward to the surface, it
split up into two, because of the elongated and flattened form of the
head in swimming animals, while its two halves still kept up a memory
of their former union in the cross-connection with the opposite halves
of the brain? If this be so, then we might suppose that the other
organs followed suit, so as to prevent confusion in the brain between
the two sides of the body; while the nose, which stands in the centre
of the face, was under no liability to such error, and therefore still
keeps up its primitive direct arrangement.

It is worth noting, too, that these tadpoles, like all other very low
vertebrates, are mud-haunters; and the most primitive among adult
vertebrates are still cartilaginous mud-fish. Not much is known
geologically about the predecessors of frogs; the tailless amphibians
are late arrivals upon earth, and it may seem curious, therefore, that
they should recall in so many ways the earliest ancestral type. The
reason doubtless is because they are so much given to larval
development. Some ancestors of theirs--primaeval newts or
salamanders--must have gone on for countless centuries improving
themselves in their adult shape from age to age, yet bringing all their
young into the world from the egg, as mere mud-fish still, in much the
same state as their unimproved forefathers had done millions of aeons
before. Similarly, caterpillars are still all but exact patterns of the
primaeval insect, while butterflies are totally different and far higher
creatures. Thus, in spite of adult degeneracy in the ascidian and adult
progress in the frog, both tadpoles preserve for us very nearly the
original form of their earliest backboned ancestor. Each individual
recapitulates in its own person the whole history of evolution in its
race. This is a very lucky thing for biology; since without these
recapitulatory phases we could never have traced the true lines of
descent in many cases. It would be a real misfortune for science if
every frog had been born a typical amphibian, as some tree-toads
actually are, and if every insect had emerged a fully formed adult, as
some aphides very nearly do. Larvae and embryos show us the original
types of each race; adults show us the total amount of change produced
by progressive or retrogressive development.




XI.

_AMONG THE HEATHER._


This is the worst year for butterflies that I can remember.
Entomologists all over England are in despair at the total failure of
the insect crop, and have taken to botanising, angling, and other bad
habits, in default of means for pursuing their natural avocation as
beetle-stickers. Last year's heavy rains killed all the mothers as they
emerged from the chrysalis; and so only a few stray eggs have survived
till this summer, when the butterflies they produce will all be needed
to keep up next season's supply. Nevertheless, I have climbed the
highest down in this part of the country to-day, and come out for an
airing among the heather, in the vague hope that I may be lucky enough
to catch a glimpse of one or two old lepidopterous favourites. I am not
a butterfly-hunter myself. I have not the heart to drive pins through
the pretty creatures' downy bodies, or to stifle them with reeking
chemicals; though I recognise the necessity for a hardened class who
will perform that useful office on behalf of science and society, just
as I recognise the necessity for slaughtermen and knackers. But I
prefer personally to lie on the ground at my ease and learn as much
about the insect nature as I can discover from simple inspection of the
living subject as it flits airily from bunch to bunch of
bright-coloured flowers.

I suppose even that apocryphal person, the general reader, would be
insulted at being told at this hour of the day that all bright-coloured
flowers are fertilised by the visits of insects, whose attentions they
are specially designed to solicit. Everybody has heard over and over
again that roses, orchids, and columbines have acquired their honey to
allure the friendly bee, their gaudy petals to advertise the honey, and
their divers shapes to ensure the proper fertilisation by the correct
type of insect. But everybody does not know how specifically certain
blossoms have laid themselves out for a particular species of fly,
beetle, or tiny moth. Here on the higher downs, for instance, most
flowers are exceptionally large and brilliant; while all Alpine
climbers must have noticed that the most gorgeous masses of bloom in
Switzerland occur just below the snow-line. The reason is, that such
blossoms must be fertilised by butterflies alone. Bees, their great
rivals in honey-sucking, frequent only the lower meadows and slopes,
where flowers are many and small: they seldom venture far from the hive
or the nest among the high peaks and chilly nooks where we find those
great patches of blue gentian or purple anemone, which hang like
monstrous breadths of tapestry upon the mountain sides. This heather
here, now fully opening in the warmer sun of the southern counties--it
is still but in the bud among the Scotch hills, I doubt not--specially
lays itself out for the bumblebee, and its masses form about his
highest pasture-grounds; but the butterflies--insect vagrants that they
are--have no fixed home, and they therefore stray far above the level
at which bee-blossoms altogether cease to grow. Now, the butterfly
differs greatly from the bee in his mode of honey-hunting; he does not
bustle about in a business-like manner from one buttercup or
dead-nettle to its nearest fellow; but he flits joyously, like a
sauntering straggler that he is, from a great patch of colour here to
another great patch at a distance, whose gleam happens to strike his
roving eye by its size and brilliancy. Hence, as that indefatigable
observer, Dr. Hermann Mueller, has noticed, all Alpine or hill-top
flowers have very large and conspicuous blossoms, generally grouped
together in big clusters so as to catch a passing glance of the
butterfly's eye. As soon as the insect spies such a cluster, the colour
seems to act as a stimulant to his broad wings, just as the
candle-light does to those of his cousin the moth. Off he sails at
once, as if by automatic action, towards the distant patch, and there
both robs the plant of its honey and at the same time carries to it on
his legs and head fertilising pollen from the last of its congeners
which he favoured with a call. For of course both bees and butterflies
stick on the whole to a single species at a time; or else the flowers
would only get uselessly hybridised instead of being impregnated with
pollen from other plants of their own kind. For this purpose it is that
most plants lay themselves out to secure the attention of only two or
three varieties among their insect allies, while they make their
nectaries either too deep or too shallow for the convenience of all
other kinds. Nature, though eager for cross-fertilisation, abhors
'miscegenation' with all the bitterness of an American politician.

Insects, however, differ much from one another in their aesthetic
tastes, and flowers are adapted accordingly to the varying fancies of
the different kinds. Here, for example, is a spray of common white
galium, which attracts and is fertilised by small flies, who generally
frequent white blossoms. But here, again, not far off, I find a
luxuriant mass of the yellow species, known by the quaint name of
'lady's bedstraw'--a legacy from the old legend which represents it as
having formed Our Lady's bed in the manger at Bethlehem. Now why has
this kind of galium yellow flowers, while its near kinsman yonder has
them snowy white? The reason is that lady's bedstraw is fertilised by
small beetles; and beetles are known to be one among the most
colour-loving races of insects. You may often find one of their number,
the lovely bronze and golden-mailed rose-chafer, buried deeply in the
very centre of a red garden rose, and reeling about when touched as if
drunk with pollen and honey. Almost all the flowers which beetles
frequent are consequently brightly decked in scarlet or yellow. On the
other hand, the whole family of the umbellates, those tall plants with
level bunches of tiny blossoms, like the fool's parsley, have all but
universally white petals; and Mueller, the most statistical of
naturalists, took the trouble to count the number of insects which paid
them a visit. He found that only 14 per cent. were bees, while the
remainder consisted mainly of miscellaneous small flies and other
arthropodous riff-raff; whereas in the brilliant class of composites,
including the asters, sunflowers, daisies, dandelions, and thistles,
nearly 75 per cent. of the visitors were steady, industrious bees.
Certain dingy blossoms which lay themselves out to attract wasps are
obviously adapted, as Mueller quaintly remarks, 'to a less aesthetically
cultivated circle of visitors.' But the most brilliant among all
insect-fertilised flowers are those which specially affect the society
of butterflies; and they are only surpassed in this respect throughout
all nature by the still larger and more magnificent tropical species
which owe their fertilisation to humming-birds and brush-tongued
lories.

Is it not a curious, yet a comprehensible circumstance, that the tastes
which thus show themselves in the development, by natural selection, of
lovely flowers, should also show themselves in the marked preference
for beautiful mates? Poised on yonder sprig of harebell stands a little
purple-winged butterfly, one of the most exquisite among our British
kinds. That little butterfly owes its own rich and delicately shaded
tints to the long selective action of a million generations among its
ancestors. So we find throughout that the most beautifully coloured
birds and insects are always those which have had most to do with the
production of bright-coloured fruits and flowers. The butterflies and
rose-beetles are the most gorgeous among insects: the humming-birds and
parrots are the most gorgeous among birds. Nay more, exactly like
effects have been produced in two hemispheres on different tribes by
the same causes. The plain brown swifts of the North have developed
among tropical West Indian and South American orchids the metallic
gorgets and crimson crests of the humming-bird: while a totally unlike
group of Asiatic birds have developed among the rich flora of India and
the Malay Archipelago the exactly similar plumage of the exquisite
sun-birds. Just as bees depend upon flowers, and flowers upon bees, so
the colour-sense of animals has created the bright petals of blossoms;
and the bright petals have reacted upon the tastes of the animals
themselves, and through their tastes upon their own appearance.




XII.

_SPECKLED TROUT._


It is a piece of the common vanity of anglers to suppose that they know
something about speckled trout. A fox might almost as well pretend that
he was intimately acquainted with the domestic habits of poultry, or an
Iroquois describe the customs of the Algonquins from observations made
upon the specimens who had come under his scalping-knife. I will allow
that anglers are well versed in the necessity for fishing up-stream
rather than in the opposite direction; and I grant that they have
attained an empirical knowledge of the aesthetic preferences of trout in
the matter of blue duns and red palmers; but that as a body they are
familiar with the speckled trout at home I deny. If you wish to learn
all about the race in its own life you must abjure rod and line, and
creep quietly to the side of the pools in an unfished brooklet, like
this on whose bank I am now seated; and then, if you have taken care
not to let your shadow fall upon the water, you may sit and watch the
live fish themselves for an hour together, as they bask lazily in the
sunlight, or rise now and then at cloudy moments with a sudden dart at
a May-fly who is trying in vain to lay her eggs unmolested on the
surface of the stream. The trout in my little beck are fortunately too
small even for poachers to care for tickling them: so I am able
entirely to preserve them as objects for philosophical contemplation,
without any danger of their being scared away from their accustomed
haunts by intrusive anglers.

Trout always have a recognised home of their own, inhabited by a pretty
fixed number of individuals. But if you catch the two sole denizens of
a particular scour, you will find another pair installed in their place
to-morrow. Young fry seem always ready to fill up the vacancies caused
by the involuntary retirement of their elders. Their size depends
almost entirely upon the quantity of food they can get; for an adult
fish may weigh anything at any time of his life, and there is no limit
to the dimensions they may theoretically attain. Mr. Herbert Spencer,
who is an angler as well as a philosopher, well observes that where the
trout are many they are generally small; and where they are large they
are generally few. In the mill-stream down the valley they measure only
six inches, though you may fill a basket easily enough on a cloudy day;
but in the canal reservoir, where there are only half-a-dozen fish
altogether, a magnificent eight-pounder has been taken more than once.
In this way we can understand the origin of the great lake trout, which
weigh sometimes forty pounds. They are common trout which have taken to
living in broader waters, where large food is far more abundant, but
where shoals of small fish would starve. The peculiarities thus
impressed upon them have been handed down to their descendants, till at
length they have become sufficiently marked to justify us in regarding
them as a separate species. But it is difficult to say what makes a
species in animals so very variable as fish. There are, in fact, no
less than twelve kinds of trout wholly peculiar to the British Islands,
and some of these are found in very restricted areas. Thus, the Loch
Stennis trout inhabits only the tarns of Orkney; the Galway sea trout
lives nowhere but along the west coast of Ireland; the gillaroo never
strays out of the Irish loughs; the Killin charr is confined to a
single sheet of water in Mayo; and other species belong exclusively to
the Llanberis lakes, to Lough Melvin, or to a few mountain pools of
Wales and Scotland. So great is the variety that may be produced by
small changes of food and habitat. Even the salmon himself is only a
river trout who has acquired the habit of going down to the sea, where
he gets immensely increased quantities of food (for all the trout kind
are almost omnivorous), and grows big in proportion. But he still
retains many marks of his early existence as a river fish. In the first
place, every salmon is hatched from the egg in fresh water, and grows
up a mere trout. The young parr, as the salmon is called in this stage
of its growth, is actually (as far as physiology goes) a mature fish,
and is capable of producing milt, or male spawn, which long caused it
to be looked upon as a separate species. It really represents, however,
the early form of the salmon, before he took to his annual excursion to
the sea. The ancestral fish, only a hundredth fraction in weight of his
huge descendant, must have somehow acquired the habit of going
seaward--possibly from a drying up of his native stream in seasons of
drought. In the sea, he found himself suddenly supplied with an
unwonted store of food, and grew, like all his kind under similar
circumstances, to an extraordinary size. Thus he attains, as it were,
to a second and final maturity. But salmon cannot lay their eggs in the
sea; or at least, if they did, the young parr would starve for want of
their proper food, or else be choked by the salt water, to which the
old fish have acclimatised themselves. Accordingly, with the return of
the spawning season there comes back an instinctive desire to seek once
more the native fresh water. So the salmon return up stream to spawn,
and the young are hatched in the kind of surroundings which best suit
their tender gills. This instinctive longing for the old home may
probably have arisen during an intermediate stage, when the developing
species still haunted only the brackish water near the river mouths;
and as those fish alone which returned to the head waters could
preserve their race, it would soon grow hardened into a habit engrained
in the nervous system, like the migration of birds or the clustering of
swarming bees around their queen. In like manner the Jamaican
land-crabs, which themselves live on the mountain-tops, come down every
year to lay their eggs in the Caribbean; because, like all other crabs,
they pass their first larval stage as swimming tadpoles, and afterwards
take instinctively to the mountains, as the salmon takes to the sea.
Such a habit could only have arisen by one generation after another
venturing further and further inland, while always returning at the
proper season to the native element for the deposition of the eggs.

These trout here, however, differ from the salmon in one important
particular beside their relative size, and that is that they are
beautifully speckled in their mature form, instead of being merely
silvery like the larger species. The origin of the pretty speckles is
probably to be found in the constant selection by the fish of the most
beautiful among their number as mates. Just as singing birds are in
their fullest and clearest song at the nesting period, and just as many
brilliant species only possess their gorgeous plumage while they are
going through their courtship, and lose the decoration after the young
brood is hatched, so the trout are most brightly coloured at spawning
time, and become lank and dingy after the eggs have been safely
deposited. The parent fish ascend to the head-waters of their native
river during the autumn season to spawn, and then, their glory dimmed,
they return down-stream to the deep pools, where they pass the winter
sulkily, as if ashamed to show themselves in their dull and dusky
suits. But when spring comes round once more, and flies again become
abundant, the trout begin to move up-stream afresh, and soon fatten out
to their customary size and brilliant colours. It might seem at first
sight that creatures so humble as these little fish could hardly have
sufficiently developed aesthetic tastes to prefer one mate above
another on the score of beauty. But we must remember that every species
is very sensitive to small points of detail in its own kind, and that
the choice would only be exerted between mates generally very like one
another, so that extremely minute differences must necessarily turn the
scale in favour of one particular suitor rather than his rivals.
Anglers know that trout are attracted by bright colours, that they can
distinguish the different flies upon which they feed, and that
artificial flies must accordingly be made at least into a rough
semblance of the original insects. Some scientific fishermen even
insist that it is no use offering them a brown drake at the time of
year or the hour of day when they are naturally expecting a red
spinner. Of course their sight is by no means so perfect as our own,
but it probably includes a fair idea of form, and an acute perception
of colour, while there is every reason to believe that all the trout
family have a decided love of metallic glitter, such as that of silver
or of the salmon's scales. Mr. Darwin has shown that the little
stickleback goes through an elaborate courtship, and I have myself
watched trout which seemed to me as obviously love-making as any pair
of turtle-doves I ever saw. In their early life salmon fry and young
trout are almost quite indistinguishable, being both marked with blue
patches (known as 'finger-marks') on their sides, which are remnants of
the ancestral colouring once common to the whole race. But as they grow
up, their later-acquired tastes begin to produce a divergence, due
originally to this selective preference of certain beautiful mates; and
the adult salmon clothes himself from head to tail in sheeny silver,
while the full-grown trout decks his sides with the beautiful speckles
which have earned him his popular name. Countless generations of slight
differences, selected from time to time by the strongest and handsomest
fish, have sufficed at length to bring about these conspicuous
variations from the primitive type, which the young of both races still
preserve.




XIII.

_DODDER AND BROOMRAPE._


This afternoon, strolling through the under-cliff, I have come across
two quaint and rather uncommon flowers among the straggling brushwood.
One of them is growing like a creeper around the branches of this
overblown gorse-bush. It is the lesser dodder, a pretty clustering mass
of tiny pale pink convolvulus blossoms. The stem consists of a long red
thread, twining round and round the gorse, and bursting out here and
there into thick bundles of beautiful bell-shaped flowers. But where
are the leaves? You may trace the red threads through their
labyrinthine windings up and down the supporting gorse-branches all in
vain: there is not a leaf to be seen. As a matter of fact, the dodder
has none. It is one of the most thorough-going parasites in all nature.
Ordinary green-leaved plants live by making starches for themselves out
of the carbonic acid in the air, under the influence of sunlight; but
the dodder simply fastens itself on to another plant, sends down
rootlets or suckers into its veins, and drinks up sap stored with
ready-made starches or other foodstuffs, originally destined by its
host for the supply of its own growing leaves, branches, and blossoms.
It lives upon the gorse just as parasitically as the little green
aphides live upon our rose-bushes. The material which it uses up in
pushing forth its long thread-like stem and clustered bells is so much
dead loss to the unfortunate plant on which it has fixed itself.

Old-fashioned books tell us that the mistletoe is a perfect parasite,
while the dodder is an imperfect one; and I believe almost all
botanists will still repeat the foolish saying to the present day. But
it really shows considerable haziness as to what a true parasite is.
The mistletoe is a plant which has taken, it is true, to growing upon
other trees. Its very viscid berries are useful for attaching the seeds
to the trunk of the oak or the apple; and there it roots itself into
the body of its host. But it soon produces real green leaves of its
own, which contain the ordinary chlorophyll found in other leaves, and
help it to manufacture starch, under the influence of sunlight, on its
own account. It is not, therefore, a complete drag upon the tree which
it infests; for though it takes sap and mineral food from the host, it
supplies itself with carbon, which is after all the important thing for
plant-life. Dodder, however, is a parasite pure and simple. Its seeds
fall originally upon the ground, and there root themselves at first
like those of any other plant. But, as it grows, its long twining stem
begins to curl for support round some other and stouter stalk. If it
stopped there, and then produced leaves of its own, like the
honeysuckle and the clematis, there would be no great harm done: and
the dodder would be but another climbing plant the more in our flora.
However, it soon insidiously repays the support given it by sending
down little bud-like suckers, through which it draws up nourishment
from the gorse or clover on which it lives. Thus it has no need to
develop leaves of its own; and it accordingly employs all its stolen
material in sending forth matted thread-like stems and bunch after
bunch of bright flowers. As these increase and multiply, they at last
succeed in drawing away all the nutriment from the supporting plant,
which finally dies under the constant drain, just as a horse might die
under the attacks of a host of leeches. But this matters little to the
dodder, which has had time to be visited and fertilised by insects, and
to set and ripen its numerous seeds. One species, the greater dodder,
is thus parasitic upon hops and nettles; a second kind twines round
flax; and the third, which I have here under my eyes, mainly confines
its dangerous attentions to gorse, clover, and thyme. All of them are,
of course, deadly enemies to the plants they infest.

How the dodder acquired this curious mode of life it is not difficult
to see. By descent it is a bind-weed, or wild convolvulus, and its
blossoms are in the main miniature convolvulus blossoms still. Now, all
bind-weeds, as everybody knows, are climbing plants, which twine
themselves round stouter stems for mere physical support This is in
itself a half-parasitic habit, because it enables the plant to dispense
with the trouble of making a thick and solid stem for its own use. But
just suppose that any bind-weed, instead of merely twining, were to put
forth here and there little tendrils, something like those of the ivy,
which managed somehow to grow into the bark of the host, and so
naturally graft themselves to its tissues. In that case the plant would
derive nutriment from the stouter stem with no expense to itself, and
it might naturally be expected to grow strong and healthy, and hand
down its peculiarities to its descendants. As the leaves would thus be
rendered needless, they would first become very much reduced in size,
and would finally disappear altogether, according to the universal
custom of unnecessary organs. So we should get at length a leafless
plant, with numerous flowers and seeds, just like the dodder.
Parasites, in fact, whether animal or vegetable, always end by becoming
mere reproductive sacs, mechanisms for the simple elaboration of eggs
or seeds. This is just what has happened to the dodder before me.

The other queer plant here is a broomrape. It consists of a tall,
somewhat faded-looking stem, upright instead of climbing, and covered
with brown or purplish scales in the place of leaves. Its flowers
resemble the scales in colour, and the dead-nettle in shape. It is, in
fact, a parasitic dead-nettle, a trifle less degenerate as yet than the
dodder. This broomrape has acquired somewhat the same habits as the
other plant, only that it fixes itself on the roots of clover or broom,
from which it sucks nutriment by its own root, as the dodder does by
its stem-suckers. Of course it still retains in most particulars its
original characteristics as a dead-nettle; it grows with their upright
stem and their curiously shaped flowers, so specially adapted for
fertilisation by insect visitors. But it has naturally lost its leaves,
for which it has no further use, and it possesses no chlorophyll, as
the mistletoe does. Yet it has not probably been parasitic for as long
a time as the dodder, since it still retains a dwindling trace of its
leaves in the shape of dry purply scales, something like those of young
asparagus shoots. These leaves are now, in all likelihood, actually
undergoing a gradual atrophy, and we may fairly expect that in the
course of a few thousand years they will disappear altogether. At
present, however, they remain very conspicuous by their colour, which
is not green, owing to the absence of chlorophyll, but is due to the
same pigment as that of the blossoms. This generally happens with
parasites, or with that other curious sort of plants known as
saprophytes, which live upon decaying living matter in the mould of
forests. As they need no green leaves, but have often inherited leafy
structures of some sort, in a more or less degenerate condition, from
their self-supporting ancestors, they usually display most beautiful
colours in their stems and scales, and several of them rank amongst our
handsomest hot-house plants. Even the dodder has red stalks. Their only
work in life being to elaborate the materials stolen from their host
into the brilliant pigments used in the petals for attracting insect
fertilisers, they pour this same dye into the stems and scales, which
thus render them still more conspicuous to the insects' eyes. Moreover,
as they use their whole material in producing flowers, many of these
are very large and handsome; one huge Sumatran species has a blossom
which measures three feet across. On the other hand, their seeds are
usually small and very numerous. Thousands of seeds must fall on
unsuitable places, spring up, and waste all their tiny store of
nourishment, find no host at hand on which to fasten themselves, and so
die down for want of food. It is only by producing a few thousand young
plants for every one destined ultimately to survive that dodders and
broomrapes manage to preserve their types at all.




XIV.

_DOG'S MERCURY AND PLANTAIN._


The hedge and bank in Haye Lane are now a perfect tangled mass of
creeping plants, among which I have just picked out a queer little
three-cornered flower, hardly known even to village children, but
christened by our old herbalists 'dog's mercury.' It is an ancient
trick of language to call coarser or larger plants by the specific
title of some smaller or cultivated kind, with the addition of an
animal's name. Thus we have radish and horse-radish, chestnut and
horse-chestnut, rose and dog-rose, parsnip and cow-parsnip, thistle and
sow-thistle. On the same principle, a somewhat similar plant being
known as mercury, this perennial weed becomes dog's mercury. Both, of
course, go back to some imaginary medicinal virtue in the herb which
made it resemble the metal in the eyes of old-fashioned practitioners.

Dog's mercury is one of the oddest English flowers I know. Each blossom
has three small green petals, and either several stamens, or else a
pistil, in the centre. There is nothing particularly remarkable in the
flower being green, for thousands of other flowers are green and we
never notice them as in any way unusual. In fact, we never as a rule
notice green blossoms at all. Yet anybody who picked a piece of dog's
mercury could not fail to be struck by its curious appearance. It does
not in the least resemble the inconspicuous green flowers of the
stinging-nettle, or of most forest trees: it has a very distinct set of
petals which at once impress one with the idea that they ought to be
coloured. And so indeed they ought: for dog's mercury is a degenerate
plant which once possessed a brilliant corolla and was fertilised by
insects, but which has now fallen from its high estate and reverted to
the less advanced mode of fertilisation by the intermediation of the
wind. For some unknown reason or other this species and all its
relations have discovered that they get on better by the latter and
usually more wasteful plan than by the former and usually more
economical one. Hence they have given up producing large bright petals,
because they no longer need to attract the eyes of insects; and they
have also given up the manufacture of honey, which under their new
circumstances would be a mere waste of substance to them. But the dog's
mercury still retains a distinct mark of its earlier insect-attracting
habits in these three diminutive petals. Others of its relations have
lost even these, so that the original floral form is almost completely
obscured in their case. The spurges are familiar English roadside
examples, and their flowers are so completely degraded that even
botanists for a long time mistook their nature and analogies.

The male and female flowers of dog's mercury have taken to living upon
separate plants. Why is this? Well, there was no doubt a time when
every blossom had both stamens and pistil, as dog-roses and buttercups
always have. But when the plant took to wind fertilisation it underwent
a change of structure. The stamens on some blossoms became aborted,
while the pistil became aborted on others. This was necessary in order
to prevent self-fertilisation; for otherwise the pollen of each
blossom, hanging out as it does to the wind, would have been very
liable to fall upon its own pistil. But the present arrangement
obviates any such contingency, by making one plant bear all the male
flowers and another plant all the female ones. Why, again, are the
petals green? I think because dog's mercury would be positively injured
by the visits of insects. It has no honey to offer them, and if they
came to it at all, they would only eat up the pollen itself. Hence I
suspect that those flowers among the mercuries which showed any
tendency to retain the original coloured petals would soon get weeded
out, because insects would eat up all their pollen, thus preventing
them from fertilising others; while those which had green petals would
never be noticed and so would be permitted to fertilise one another
after their new fashion. In fact, when a blossom which has once
depended upon insects for its fertilisation is driven by circumstances
to depend upon the wind, it seems to derive a positive advantage from
losing all those attractive features by which its ancestors formerly
allured the eyes of bees or beetles.

Here, again, on the roadside is a bit of plantain. Everybody knows its
flat rosette of green leaves and its tall spike of grass-like blossom,
with long stamens hanging out to catch the breeze. Now plantain is a
case exactly analogous to dog's mercury. It is an example of a degraded
blossom. Once upon a time it was a sort of distant cousin to the
veronica, that pretty sky-blue speedwell which abounds among the
meadows in June and July. But these particular speedwells gave up
devoting themselves to insects and became adapted for fertilisation by
the wind instead. So you must look close at them to see at all that the
flowering spike is made up of a hundred separate little four-rayed
blossoms, whose pale and faded petals are tucked away out of sight flat
against the stem. Yet their shape and arrangement distinctly recall the
beautiful veronica, and leave one in little doubt as to the origin of
the plant. At the same time a curious device has sprung up which
answers just the same purpose as the separation of the male and female
flowers on the dog's mercury. Each plantain blossom has both stamens
and pistils, but the pistils come to maturity first, and are fertilised
by pollen blown to them from some neighbouring spike. Their feathery
plumes are admirably adapted for catching and utilising any stray
golden grain which happens to pass that way. After the pistils have
faded, the stamens ripen, and hang out at the end of long waving
filaments, so as to discharge all their pollen with effect. On each
spike of blossoms the lower flowerets open first; and so, if you pick a
half-blown spike, you will see that all the stamens are ripe below, and
all the pistils above. Were the opposite arrangement to occur, the
pollen would fall from the stamens to the lower flowers of the same
stalk; but as the pistils below have always been fertilised and
withered before the stamens ripen, there is no chance of any such
accident and its consequent evil results. Thus one can see clearly that
the plantain has become wholly adapted to wind-fertilisation, and as a
natural effect has all but lost its bright-coloured corolla.

Common groundsel is also a case of the same kind; but here the
degradation has not gone nearly so far. I venture to conjecture,
therefore, that groundsel has been embarked for a shorter time upon its
downward course. For evolution is not, as most people seem to fancy, a
thing which used once to take place; it is a process taking place
around us every day, and it must necessarily continue to take place to
the end of all time. By family the groundsel is a daisy; but it has
acquired the strange and somewhat abnormal habit of self-fertilisation,
which in all probability will ultimately lead to its total extinction.
Hence it does not need the assistance of insects; and it has
accordingly never developed or else got rid of the bright outer
ray-florets which may once have attracted them. Its tiny bell-shaped
blossoms still retain their dwarf yellow corollas; but they are almost
hidden by the green cup-like investment of the flower-head, and they
are not conspicuous enough to arrest the attention of the passing
flies. Here, then, we have an example of a plant just beginning to
start on the retrograde path already traversed by the plantain and the
spurges. If we could meet prophetically with a groundsel of some remote
future century, I have little doubt we should find its bell-shaped
petals as completely degraded as those of the plantain in our own day.

The general principle which these cases illustrate is that when flowers
have always been fertilised by the wind, they never have brilliant
corollas; when they acquire the habit of impregnating their kind by the
intervention of insects, they almost always acquire at the same time
alluring colours, perfumes, and honey; and when they have once been so
impregnated, and then revert once more to wind-fertilisation, or become
self-fertilisers, they generally retain some symptoms of their earlier
habits, in the presence of dwarfed and useless petals, sometimes green,
or if not green at least devoid of their former attractive colouring.
Thus every plant bears upon its very face the history of its whole
previous development.




XV.

_BUTTERFLY PSYCHOLOGY._


A small red-and-black butterfly poises statuesque above the purple
blossom of this tall field-thistle. With its long sucker it probes
industriously floret after floret of the crowded head, and extracts
from each its wee drop of buried nectar. As it stands just at present,
the dull outer sides of its four wings are alone displayed, so that it
does not form a conspicuous mark for passing birds; but when it has
drunk up the last drop of honey from the thistle flower, and flits
joyously away to seek another purple mass of the same sort, it will
open its red-spotted vans in the sunlight, and will then show itself
off as one among the prettiest of our native insects. Each thistle-head
consists of some two hundred separate little bell-shaped blossoms,
crowded together for the sake of conspicuousness into a single group,
just as the blossoms of the lilac or the syringa are crowded into
larger though less dense clusters; and, as each separate floret has a
nectary of its own, the bee or butterfly who lights upon the compound
flower-group can busy himself for a minute or two in getting at the
various drops of honey without the necessity for any further change of
position than that of revolving upon his own axis. Hence these
composite flowers are great favourites with all insects whose suckers
are long enough to reach the bottom of their slender tubes.

The butterfly's view of life is doubtless on the whole a cheerful one.
Yet his existence must be something so nearly mechanical that we
probably overrate the amount of enjoyment which he derives from
flitting about so airily among the flowers, and passing his days in the
unbroken amusement of sucking liquid honey. Subjectively viewed, the
butterfly is not a high order of insect; his nervous system does not
show that provision for comparatively spontaneous thought and action
which we find in the more intelligent orders, like the flies, bees,
ants, and wasps. His nerves are all frittered away in little separate
ganglia distributed among the various segments of his body, instead of
being governed by a single great central organ, or brain, whose
business it always is to correlate and co-ordinate complex external
impressions. This shows that the butterfly's movements are almost all
automatic, or simply dependent upon immediate external stimulants: he
has not even that small capacity for deliberation and spontaneous
initiative which belongs to his relation the bee. The freedom of the
will is nothing to him, or extends at best to the amount claimed on
behalf of Buridan's ass: he can just choose which of two equidistant
flowers shall first have the benefit of his attention, and nothing
else. Whatever view we take on the abstract metaphysical question, it
is at least certain that the higher animals can do much more than this.
Their brain is able to correlate a vast number of external impressions,
and to bring them under the influence of endless ideas or experiences,
so as finally to evolve conduct which differs very widely with
different circumstances and different characters. Even though it be
true, as determinists believe (and I reckon myself among them), that
such conduct is the necessary result of a given character and given
circumstances--or, if you will, of a particular set of nervous
structures and a particular set of external stimuli--yet we all know
that it is capable of varying so indefinitely, owing to the complexity
of the structures, as to be practically incalculable. But it is not so
with the butterfly. His whole life is cut out for him beforehand; his
nervous connections are so simple, and correspond so directly with
external stimuli, that we can almost predict with certainty what line
of action he will pursue under any given circumstances. He is, as it
were, but a piece of half-conscious mechanism, answering immediately to
impulses from without, just as the thermometer answers to variations of
temperature, and as the telegraphic indicator answers to each making
and breaking of the electric current.

In early life the future butterfly emerges from the egg as a
caterpillar. At once his many legs begin to move, and the caterpillar
moves forward by their motion. But the mechanism which set them moving
was the nervous system, with its ganglia working the separate legs of
each segment. This movement is probably quite as automatic as the act
of sucking in the new-born infant. The caterpillar walks, it knows not
why, but simply because it has to walk. When it reaches a fit place for
feeding, which differs according to the nature of the particular larva,
it feeds automatically. Certain special external stimulants of sight,
smell, or touch set up the appropriate actions in the mandibles, just
as contact of the lips with an external body sets up sucking in the
infant. All these movements depend upon what we call instinct--that is
to say, organic habits registered in the nervous system of the race.
They have arisen by natural selection alone, because those insects
which duly performed them survived, and those which did not duly
perform them died out. After a considerable span of life spent in
feeding and walking about in search of more food, the caterpillar one
day found itself compelled by an inner monitor to alter its habits.
Why, it knew not; but, just as a tired child sinks to sleep, the gorged
and full-fed caterpillar sank peacefully into a dormant state. Then its
tissues melted one by one into a kind of organic pap, and its outer
skin hardened into a chrysalis. Within that solid case new limbs and
organs began to grow by hereditary impulses. At the same time the form
of the nervous system altered, to suit the higher and freer life for
which the insect was unconsciously preparing itself. Fewer and smaller
ganglia now appeared in the tail segments (since no legs would any
longer be needed there), while more important ones sprang up to govern
the motions of the four wings. But it was in the head that the greatest
changes took place. There, a rudimentary brain made its appearance,
with large optic centres, answering to the far more perfect and
important eyes of the future butterfly. For the flying insect will have
to steer its way through open space, instead of creeping over leaves
and stones; and it will have to suck the honey of flowers, as well as
to choose its fitting mate, all of which demands from it higher and
keener senses than those of the purblind caterpillar. At length one day
the chrysalis bursts asunder, and the insect emerges to view on a
summer morning as a full-fledged and beautiful butterfly.

For a minute or two it stands and waits till the air it breathes has
filled out its wings, and till the warmth and sunlight have given it
strength. For the wings are by origin a part of the breathing
apparatus, and they require to be plimmed by the air before the insect
can take to flight. Then, as it grows more accustomed to its new life,
the hereditary impulse causes it to spread its vans abroad, and it
flies. Soon a flower catches its eye, and the bright mass of colour
attracts it irresistibly, as the candle-light attracts the eye of a
child a few weeks old. It sets off towards the patch of red or yellow,
probably not knowing beforehand that this is the visible symbol of food
for it, but merely guided by the blind habit of its race, imprinted
with binding force in the very constitution of its body. Thus the
moths, which fly by night and visit only white flowers whose corollas
still shine out in the twilight, are so irresistibly led on by the
external stimulus of light from a candle falling upon their eyes that
they cannot choose but move their wings rapidly in that direction; and
though singed and blinded twice or three times by the flame, must still
wheel and eddy into it, till at last they perish in the scorching
blaze. Their instincts, or, to put it more clearly, their simple
nervous mechanism, though admirably adapted to their natural
circumstances, cannot be equally adapted to such artificial objects as
wax candles. The butterfly in like manner is attracted automatically by
the colour of his proper flowers, and settling upon them, sucks up
their honey instinctively. But feeding is not now his only object in
life: he has to find and pair with a suitable mate. That, indeed, is
the great end of his winged existence. Here, again, his simple nervous
system stands him in good stead. The picture of his kind is, as it
were, imprinted on his little brain, and he knows his own mates the
moment he sees them, just as intuitively as he knows the flowers upon
which he must feed. Now we see the reason for the butterfly's large
optic centres: they have to guide it in all its movements. In like
manner, and by a like mechanism, the female butterfly or moth selects
the right spot for laying her eggs, which of course depends entirely
upon the nature of the young caterpillars' proper food. Each great
group of insects has its own habits in this respect, may-flies laying
their eggs on the water, many beetles on wood, flies on decaying animal
matter, and butterflies mostly on special plants. Thus throughout its
whole life the butterfly's activity is entirely governed by a rigid
law, registered and fixed for ever in the constitution of its ganglia
and motor nerves. Certain definite objects outside it invariably
produce certain definite movements on the insect's part. No doubt it is
vaguely conscious of all that it does: no doubt it derives a faint
pleasure from due exercise of all its vital functions, and a faint pain
when they are injured or thwarted; but on the whole its range of action
is narrowed and bounded by its hereditary instincts and their nervous
correlatives. It may light on one flower rather than another; it may
choose a fresher and brighter mate rather than a battered and dingy
one; but its little subjectivity is a mere shadow compared with ours,
and it hardly deserves to be considered as more than a semi-conscious
automatic machine.




XVI.

_BUTTERFLY AESTHETICS._


The other day, when I was watching that little red-spotted butterfly
whose psychology I found so interesting, I hardly took enough account,
perhaps, of the insect's own subjective feelings of pleasure and pain.
The first great point to understand about these minute creatures is
that they are, after all, mainly pieces of automatic mechanism: the
second great point is to understand that they are probably something
more than that as well. To-day I have found another exactly similar
butterfly, and I am going to work out with myself the other half of the
problem about him. Granted that the insect is, viewed intellectually, a
cunning bit of nervous machinery, may it not be true at the same time
that he is, viewed emotionally, a faint copy of ourselves?

Here he stands on a purple thistle again, true, as usual, to the plant
on which I last found him. There can be no doubt that he distinguishes
one colour from another, for you can artificially attract him by
putting a piece of purple paper on a green leaf, just as the flower
naturally attracts him with its native hue. Numerous observations and
experiments have proved with all but absolute certainty that his
discrimination of colour is essentially identical with our own; and I
think, if we run our eye up and down nature, observing how universally
all animals are attracted by pure and bright colours, we can hardly
doubt that he appreciates and admires colour as well as discriminates
it. Mr. Darwin certainly judges that butterflies can show an aesthetic
preference of the sort, for he sets down their own lovely hues to the
constant sexual selection of the handsomest mates. We must not,
however, take too human a measure of their capacities in this respect.
It is sufficient to believe that the insect derives some direct
enjoyment from the stimulation of pure colour, and is hereditarily
attracted by it wherever it may show itself. This pleasure draws it on,
on the one hand, towards the gay flowers which form its natural food;
and, on the other hand, towards its own brilliant mates. Imprinted on
its nervous system is a certain blank form answering to its own
specific type; and when the object corresponding to this blank form
occurs in its neighbourhood, the insect blindly obeys its hereditary
instinct. But out of two or three such possible mates it naturally
selects that which is most brightly spotted, and in other ways most
perfectly fulfils the specific ideal. We need not suppose that the
insect is conscious of making a selection or of the reasons which guide
it in its choice: it is enough to believe that it follows the strongest
stimulus, just as the child picks out the biggest and reddest apple
from a row of ten. Yet such unconscious selections, made from time to
time in generation after generation, have sufficed to produce at last
all the beautiful spots and metallic eyelets of our loveliest English
or tropical butterflies. Insects always accustomed to exercising their
colour-sense upon flowers and mates, may easily acquire a high standard
of taste in that direction, while still remaining comparatively in a
low stage as regards their intellectual condition. But the fact I wish
especially to emphasise is this--that the flowers produced by the
colour-sense of butterflies and their allies are just those objects
which we ourselves consider most lovely in nature; and that the marks
and shades upon their own wings, produced by the long selective action
of their mates, are just the things which we ourselves consider most
beautiful in the animal world. In this respect, then, there seems to be
a close community of taste and feeling between the butterfly and
ourselves.

Let me note, too, just in passing, that while the upper half of the
butterfly's wing is generally beautiful in colour, so as to attract his
fastidious mate, the under half, displayed while he is at rest, is
almost always dull, and often resembles the plant upon which he
habitually alights. The first set of colours is obviously due to sexual
selection, and has for its object the making of an effective courtship;
but the second set is obviously due to natural selection, and has been
produced by the fact that all those insects whose bright colours show
through too vividly when they are at rest fall a prey to birds or other
enemies, leaving only the best protected to continue the life of the
species.

But sight is not the only important sense to the butterfly. He is
largely moved and guided by smell as well. Both bees and butterflies
seem largely to select the flowers they visit by means of smell, though
colour also aids them greatly. When we remember that in ants scent
alone does duty instead of eyes, ears, or any other sense, it would
hardly be possible to doubt that other allied insects possessed the
same faculty in a high degree; and, as Dr. Bastian says, there seems
good reason for believing that all the higher insects are guided almost
as much by smell as by sight. Now it is noteworthy that most of those
flowers which lay themselves out to attract bees and butterflies are
not only coloured but sweetly scented; and it is to this cause that we
owe the perfumes of the rose, the lily-of-the-valley, the heliotrope,
the jasmine, the violet, and the stephanotis. Night-flowering plants,
which depend entirely for their fertilisation upon moths, are almost
always white, and have usually very powerful perfumes. Is it not a
striking fact that these various scents are exactly those which human
beings most admire, and which they artificially extract for essences?
Here, again, we see that the aesthetic tastes of butterflies and men
decidedly agree; and that the thyme or lavender whose perfume pleases
the bee is the very thing which we ourselves choose to sweeten our
rooms.

Finally, if we look at the sense of taste, we find an equally curious
agreement between men and insects; for the honey which is stored by the
flower for the bee, and by the bee for its own use, is stolen and eaten
up by man instead. Hence, when I consider the general continuity of
nervous structure throughout the whole animal race, and the exact
similarity of the stimulus in each instance, I can hardly doubt that
the butterfly really enjoys life somewhat as we enjoy it, though far
less vividly. I cannot but think that he finds honey sweet, and
perfumes pleasant, and colour attractive; that he feels a lightsome
gladness as he flits in the sunshine from flower to flower, and that he
knows a faint thrill of pleasure at the sight of his chosen mate. Still
more is this belief forced upon me when I recollect that, so far as I
can judge, throughout the whole animal world, save only in a few
aberrant types, sugar is sweet to taste, and thyme to smell, and song
to hear, and sunshine to bask in. Therefore, on the whole, while I
admit that the butterfly is mainly an animated puppet, I must qualify
my opinion by adding that it is a puppet which, after its vague little
fashion, thinks and feels very much as we do.




XVII.

_THE ORIGIN OF WALNUTS._


Mr. Darwin has devoted no small portion of his valuable life to
tracing, in two bulky volumes, the Descent of Man. Yet I suppose it is
probable that in our narrow anthropinism we should have refused to
listen to him had he given us two volumes instead on the Descent of
Walnuts. Viewed as a question merely of biological science, the one
subject is just as important as the other. But the old Greek doctrine
that 'man is the measure of all things' is strong in us still. We form
for ourselves a sort of pre-Copernican universe, in which the world
occupies the central point of space, and man occupies the central point
of the world. What touches man interests us deeply: what concerns him
but slightly we pass over as of no consequence. Nevertheless, even the
origin and development of walnuts is a subject upon which we may
profitably reflect, not wholly without gratification and interest.

This kiln-dried walnut on my plate, which has suggested such abstract
cogitations to my mind, is shown by its very name to be a foreign
production; for the word contains the same root as Wales and Welsh, the
old Teutonic name for men of a different race, which the Germans still
apply to the Italians, and we ourselves to the last relics of the old
Keltic population in Southern Britain. It means 'the foreign nut,' and
it comes for the most part from the south of Europe. As a nut, it
represents a very different type of fruit from the strawberry and
raspberry, with their bright colours, sweet juices, and nutritious
pulp. Those fruits which alone bear the name in common parlance are
attractive in their object; the nuts are deterrent. An orange or a plum
is brightly tinted with hues which contrast strongly with the
surrounding foliage; its pleasant taste and soft pulp all advertise it
for the notice of birds or monkeys, as a means for assisting in the
dispersion of its seed. But a nut, on the contrary, is a fruit whose
actual seed contains an abundance of oils and other pleasant
food-stuffs, which must be carefully guarded against the depredations
of possible foes. In the plum or the orange we do not eat the seed
itself: we only eat the surrounding pulp. But in the walnut the part
which we utilise is the embryo plant itself; and so the walnut's great
object in life is to avoid being eaten. Accordingly, that part of the
fruit which in the plum is stored with sweet juices is, in the walnut,
filled with a bitter and very nauseous essence. We seldom see this
bitter covering in our over-civilised life, because it is, of course,
removed before the nuts come to table. The walnut has but a thin shell,
and is poorly protected in comparison with some of its relations, such
as the American butternut, which can only be cracked by a sharp blow
from a hammer--or even the hickory, whose hard covering has done more
to destroy the teeth of New Englanders than all other causes put
together, and New England teeth are universally admitted to be the very
worst in the world. Now, all nuts have to guard against squirrels and
birds; and therefore their peculiarities are exactly opposite to those
of succulent fruits. Instead of attracting attention by being brightly
coloured, they are invariably green like the leaves while they remain
on the tree, and brown or dusky like the soil when they fall upon the
ground beneath; instead of being enclosed in sweet coats, they are
provided with bitter, acrid, or stinging husks; and, instead of being
soft in texture, they are surrounded by hard shells, like the coco-nut,
or have a perfectly solid kernel, like the vegetable ivory.

The origin of nuts is thus exactly the reverse side of the origin of
fruits. Certain seeds, richly stored with oils and starches for aiding
the growth of the young plant, are exposed to the attacks of squirrels,
monkeys, parrots, and other arboreal animals. The greater part of them
are eaten and completely destroyed by these their enemies, and so never
hand down their peculiarities to any descendants. But all fruits vary a
little in sweetness and bitterness, pulpy or stringy tendencies. Thus a
few among them happen to be protected from destruction by their
originally accidental possession of a bitter husk, a hard shell, or a
few awkward spines and bristles. These the monkeys and squirrels
reject; and they alone survive as the parents of future generations.
The more persistent and the hungrier their foes become, the less will a
small degree of bitterness or hardness serve to protect them. Hence,
from generation to generation, the bitterness and the hardness will go
on increasing, because only those nuts which are the nastiest and the
most difficult to crack will escape destruction from the teeth or bills
of the growing and pressing population of rodents and birds. The nut
which best survives on the average is that which is least conspicuous
in colour, has a rind of the most objectionable taste, and is enclosed
in the most solid shell. But the extent to which such precautions
become necessary will depend much upon the particular animals to whose
attacks the nuts of each country are exposed. The European walnut has
only to defy a few small woodland animals, who are sufficiently
deterred by its acrid husk; the American butter-nut has to withstand
the long teeth of much more formidable forestine rodents, whom it sets
at nought with its stony and wrinkled shell; and the tropical cocos and
Brazil nuts have to escape the monkey, who pounds them with stones, or
flings them with all his might from the tree-top so as to smash them in
their fall against the ground below.

Our own hazel-nut supplies an excellent illustration of the general
tactics adopted by the nuts at large. The little red tufted blossoms
which everybody knows so well in early spring are each surrounded by a
bunch of three bracts; and as the nut grows bigger, these bracts form a
green leaf-like covering, which causes it to look very much like the
ordinary foliage of the hazel-tree. Besides, they are thickly set with
small prickly hairs, which are extremely annoying to the fingers, and
must prove far more unpleasant to the delicate lips and noses of lower
animals. Just at present the nuts have reached this stage in our
copses; but as soon as autumn sets in, and the seeds are ripe, they
will turn brown, fall out of their withered investment, and easily
escape notice on the soil beneath, where the dead leaves will soon
cover them up in a mass of shrivelled brown, indistinguishable in shade
from the nuts themselves. Take, as an example of the more carefully
protected tropical kinds, the coco-nut. Growing on a very tall
palm-tree, it has to fall a considerable distance toward the earth; and
so it is wrapped round in a mass of loose knotted fibre, which breaks
the fall just as a lot of soft wool would do. Then, being a large nut,
fully stored with an abundance of meat, it offers special attractions
to animals, and consequently requires special means of defence.
Accordingly, its shell is extravagantly thick, only one small soft spot
being left at the blunter end, through which the young plant may push
its head. Once upon a time, to be sure, the coco-nut contained three
kernels, and had three such soft spots or holes; but now two of them
are aborted, and the two holes remain only in the form of hard scars.
The Brazil nut is even a better illustration. Probably few people know
that the irregular angular nuts which appear at dessert by that name
are originally contained inside a single round shell, where they fit
tightly together, and acquire their queer indefinite shapes by mutual
pressure. So the South American monkey has first to crack the thick
external common shell against a stone or otherwise; and, if he is
successful in this process, he must afterwards break the separate
sharp-edged inner nuts with his teeth--a performance which is always
painful and often ineffectual.

Yet it is curious that nuts and fruits are really produced by the very
slightest variations on a common type, so much so that the technical
botanist does not recognise the popular distinction between them at
all. In his eyes, the walnut and the coco-nut are not nuts, but
'drupaceous fruits,' just like the plum and the cherry. All four alike
contain a kernel within, a hard shell outside it, and a fibrous mass
outside that again, bounded by a thin external layer. Only, while in
the plum and cherry this fibrous mass becomes succulent and fills with
sugary juice, in the walnut its juice is bitter, and in the coco-nut it
has no juice at all, but remains a mere matted layer of dry fibres. And
while the thin external skin becomes purple in the plum and red in the
cherry as the fruits ripen, it remains green and brown in the walnut
and coco-nut all their time. Nevertheless, Darwinism shows us both here
and elsewhere that the popular distinction answers to a real difference
of origin and function. When a seed-vessel, whatever its botanical
structure, survives by dint of attracting animals, it always acquires a
bright-coloured envelope and a sweet pulp; while it usually possesses a
hard seed-shell, and often infuses bitter essences into its kernel. On
the other hand, when a seed-vessel survives by escaping the notice of
animals, it generally has a sweet and pleasant kernel, which it
protects by a hard shell and an inconspicuous and nauseous envelope. If
the kernel itself is bitter, as with the horse-chestnut, the need for
disguise and external protection is much lessened. But the best
illustration of all is seen in the West Indian cashew-nut, which is
what Alice in Wonderland would have called a portmanteau seed-vessel--a
fruit and a nut rolled into one. In this curious case, the stalk swells
out into a bright-coloured and juicy mass, looking something like a
pear, but of course containing no seeds; while the nut grows out from
its end, secured from intrusion by a covering with a pungent juice,
which burns and blisters the skin at a touch. No animal except man can
ever successfully tackle the cashew-nut itself; but by eating the
pear-like stalk other animals ultimately aid in distributing the seed.
The cashew thus vicariously sacrifices its fruit-stem for the sake of
preserving its nut.

All nature is a continuous game of cross-purposes. Animals perpetually
outwit plants, and plants in return once more outwit animals. Or, to
drop the metaphor, those animals alone survive which manage to get a
living in spite of the protections adopted by plants; and those plants
alone survive whose peculiarities happen successfully to defy the
attack of animals. There you have the Darwinian Iliad in a nutshell.




XVIII.

_A PRETTY LAND-SHELL._


The heavy rains which have done so much harm to the standing corn have
at least had the effect of making the country look greener and lovelier
than I have seen it look for many seasons. There is now a fresh verdure
about the upland pastures and pine woods which almost reminds one of
the deep valleys of the Bernese Oberland in early spring. Last year's
continuous wet weather gave the trees and grass a miserable draggled
appearance; but this summer's rain, coming after a dry spring, has
brought out all the foliage in unwonted luxuriance; and everybody
(except the British farmer) agrees that we have never seen the country
look more beautiful. Though the year is now so far advanced, the trees
are still as green as in springtide; and the meadows, with their rich
aftermath springing up apace, look almost as lush and fresh as they did
in early June. Londoners who get away to the country or the seaside
this month will enjoy an unexpected treat in seeing the fields as they
ought to be seen a couple of months sooner in the season.

Here, on the edge of the down, where I have come up to get a good
blowing from the clear south-west breeze, I have just sat down to rest
myself awhile and to admire the view, and have reverted for a moment to
my old habit of snail-hunting. Years ago, when evolution was an
infant--an infant much troubled by the complaints inseparable from
infancy, but still a sturdy and vigorous child, destined to outlive and
outgrow its early attacks--I used to collect slugs and snails, from an
evolutionist standpoint, and put their remains into a cabinet; and to
this day I seldom go out for a walk without a few pill-boxes in my
pocket, in case I should happen to hit upon any remarkable specimen.
Now here in the tall moss which straggles over an old heap of stones I
have this moment lighted upon a beautifully marked shell of our
prettiest English snail. How beautiful it is I could hardly make you
believe, unless I had you here and could show it to you; for most
people only know the two or three ugly brown or banded snails that prey
upon their cabbages and lettuces, and have no notion of the lovely
shells to be found by hunting among English copses and under the dead
leaves of Scotch hill-sides. This cyclostoma, however,--I _must_
trouble you with a Latin name for once--is so remarkably pretty, with
its graceful elongated spiral whorls, and its delicately chiselled
fretwork tracery, that even naturalists (who have perhaps, on the
whole, less sense of beauty than any class of men I know) have
recognised its loveliness by giving it the specific epithet of
_elegans_. It is big enough for anybody to notice it, being about the
size of a periwinkle; and its exquisite stippled chasing is strongly
marked enough to be perfectly visible to the naked eye. But besides its
beauty, the cyclostoma has a strong claim upon our attention because of
its curious history.

Long ago, in the infantile days of evolutionism, I often wondered why
people made collections on such an irrational plan. They always try to
get what they call the most typical specimens, and reject all those
which are doubtful or intermediate. Hence the dogma of the fixity of
species becomes all the more firmly settled in their minds, because
they never attend to the existing links which still so largely bridge
over the artificial gaps created by our nomenclature between kind and
kind. I went to work on the opposite plan, collecting all those
aberrant individuals which most diverged from the specific type. In
this way I managed to make some series so continuous that one might
pass over specimens of three or four different kinds, arranged in rows,
without ever being able to say quite clearly, by the eye alone, where
one group ended and the next group began. Among the snails such an
arrangement is peculiarly easy; for some of the species are very
indefinite, and the varieties are numerous under each species. Nothing
can give one so good a notion of the plasticity of organic forms as
such a method. The endless varieties and intermediate links which exist
amongst dogs is the nearest example to it with which ordinary observers
are familiar.

But the cyclostoma is a snail which introduces one to still deeper
questions. It belongs in all our scientific classifications to the
group of lung-breathing mollusks, like the common garden snail. Yet it
has one remarkable peculiarity: it possesses an operculum, or door to
its shell, like that of the periwinkle. This operculum represents among
the univalves the under-shell of the oyster or other bivalves; but it
has completely disappeared in most land and fresh-water snails, as well
as among many marine species. The fact of its occurrence in the
cyclostoma would thus be quite inexplicable if we were compelled to
regard it as a descendant of the other lung-breathing mollusks. So far
as I know, all naturalists have till lately always so regarded it; but
there can be very little doubt, with the new light cast upon the
question by Darwinism, that they are wrong. There exists in all our
ponds and rivers another snail, not breathing by means of lungs, but
provided with gills, known as paludina. This paludina has a door to its
shell, like the cyclostoma; and so, indeed, have all its allies. Now,
strange as it sounds to say so, it is pretty certain that we must
really class this lung-breathing cyclostoma among the gill-breathers,
because of its close resemblance to the paludina. It is, in fact, one
of these gill-breathing pond-snails which has taken to living on dry
land, and so has acquired the habit of producing lungs. All molluscan
lungs are very simple: they consist merely of a small sac or hollow
behind the head, lined with blood-vessels; and every now and then the
snail opens this sac, allowing the air to get in and out by natural
change, exactly as when we air a room by opening the windows. So
primitive a mechanism as this could be easily acquired by any
soft-bodied animal like a snail. Besides, we have many intermediate
links between the pond-snails and my cyclostoma here. There are some
species which live in moist moss, or the beds of trickling streams.
There are others which go further from the water, and spend their days
in damp grass. And there are yet others which have taken to a wholly
terrestrial existence in woods or meadows and under heaps of stones.
All of them agree with the pond-snails in having an operculum, and so
differ from the ordinary land and river snails, the mouths of whose
shells are quite unprotected. Thus land-nails have two separate
origins--one large group (including the garden-snail) being derived
from the common fresh-water mollusks, while another much smaller group
(including the cyclostoma) is derived from the operculated pond-snails.

How is it, then, that naturalists had so long overlooked this
distinction? Simply because their artificial classification is based
entirely upon the nature of the breathing apparatus. But, as Mr.
Wallace has well pointed out, obvious and important functional
differences are of far less value in tracing relationship than
insignificant and unimportant structural details. Any water-snail may
have to take to a terrestrial life if the ponds in which it lives are
liable to dry up during warm weather. Those individuals alone will then
survive which display a tendency to oxygenise their blood by some
rudimentary form of lung. Hence the possession of lungs is not the mark
of a real genealogical class, but a mere necessary result of a
terrestrial existence. On the other hand, the possession of an
operculum, unimportant as it may be to the life of the animal, is a
good test of relationship by descent. All snails which take to living
on land, whatever their original form, will acquire lungs: but an
operculated snail will retain its operculum, and so bear witness to its
ancestry; while a snail which is not operculated will of course show no
tendency to develop such a structure, and so will equally give a true
testimony as to its origin. In short, the less functionally useful any
organ is, the higher is its value as a gauge of its owner's pedigree,
like a Bourbon nose or an Austrian lip.




XIX.

_DOGS AND MASTERS._


Probably the most forlorn and abject creature to be seen on the face of
the earth is a masterless dog. Slouching and slinking along, cringing
to every human being it chances to meet, running away with its tail
between its legs from smaller dogs whom under other circumstances it
would accost with a gruff who-the-dickens-are-you sort of growl,--it
forms the very picture of utter humiliation and self-abasement. Grip
and I have just come across such a lost specimen of stray doghood,
trying to find his way back to his home across the fields--I fancy he
belongs to a travelling show which left the village yesterday--and it
is quite refreshing to watch the air of superior wisdom and calm but
mute compassionateness with which Grip casts his eye sidelong upon that
wretched masterless vagrant, and passes him by without even a nod. He
looks up to me complacently as he trots along by my side, and seems to
say with his eye, 'Poor fellow! he's lost his master, you
know--careless dog that he is!' I believe the lesson has had a good
moral effect upon Grip's own conduct, too; for he has now spent ten
whole minutes well within my sight, and has resisted the most tempting
solicitations to ratting and rabbiting held out by half-a-dozen holes
and burrows in the hedge-wall as we go along.

This total dependence of dogs upon a master is a very interesting
example of the growth of inherited instincts. The original dog, who was
a wolf or something very like it, could not have had any such
artificial feeling. He was an independent, self-reliant animal, quite
well able to look after himself on the boundless plains of Central
Europe or High Asia. But at least as early as the days of the Danish
shell-mounds, perhaps thousands of years earlier, man had learned to
tame the dog and to employ him as a friend or servant for his own
purposes. Those dogs which best served the ends of man were preserved
and increased; those which followed too much their own original
instincts were destroyed or at least discouraged. The savage hunter
would be very apt to fling his stone axe at the skull of a hound which
tried to eat the game he had brought down with his flint-tipped arrow,
instead of retrieving it: he would be most likely to keep carefully and
feed well on the refuse of his own meals the hound which aided him most
in surprising, killing, and securing his quarry. Thus there sprang up
between man and the dog a mutual and ever increasing sympathy which on
the part of the dependent creature has at last become organised into an
inherited instinct. If we could only thread the labyrinth of a dog's
brain, we should find somewhere in it a group of correlated
nerve-connections answering to this universal habit of his race; and
the group in question would be quite without any analogous mechanism in
the brain of the ancestral wolf. As truly as the wing of the bird is
adapted to its congenital instinct of flying, as truly as the nervous
system of the bee is adapted to its congenital instinct of honeycomb
building, just so truly is the brain of the dog adapted to its now
congenital instinct of following and obeying a master. The habit of
attaching itself to a particular human being is nowadays engrained in
the nerves of the modern dog just as really, though not quite so
deeply, as the habit of running or biting is engrained in its bones and
muscles. Every dog is born into the world with a certain inherited
structure of limbs, sense-organs, and brain: and this inherited
structure governs all its future actions, both bodily and mental. It
seeks a master because it is endowed with master-seeking brain organs;
it is dissatisfied until it finds one, because its native functions can
have free play in no other way. Among a few dogs, like those of
Constantinople, the instinct may have died out by disuse, as the eyes
of cave animals have atrophied for want of light; but when a dog has
once been brought up from puppyhood under a master, the instinct is
fully and freely developed, and the masterless condition is thenceforth
for him a thwarting and disappointing of all his natural feelings and
affections.

Not only have dogs as a class acquired a special instinct with regard
to humanity generally, but particular breeds of dogs have acquired
particular instincts with regard to certain individual acts. Nobody
doubts that the muscles of a greyhound are specially correlated to the
acts of running and leaping; or that the muscles of a bull-dog are
specially correlated to the act of fighting. The whole external form of
these creatures has been modified by man's selective action for a
deliberate purpose: we breed, as we say, from the dog with the best
points. But besides being able to modify the visible and outer
structure of the animal, we are also able to modify, by indirect
indications, the hidden and inner structure of the brain. We choose the
best ratter among our terriers, the best pointer, retriever, or setter
among other breeds, to become the parents of our future stock. We thus
half unconsciously select particular types of nervous system in
preference to others. Once upon a time we used even to rear a race of
dogs with a strange instinct for turning the spit in our kitchens; and
to this day the Cubans rear blood-hounds with a natural taste for
hunting down the trail of runaway negroes. Now, everybody knows that
you cannot teach one sort of dog the kind of tricks which come by
instinct to a different sort. No amount of instruction will induce a
well-bred terrier to retrieve your handkerchief: he insists upon
worrying it instead. So no amount of instruction will induce a
well-bred retriever to worry a rat: he brings it gingerly to your feet,
as if it was a dead partridge. The reason is obvious, because no one
would breed from a retriever which worried or from a terrier which
treated its natural prey as if it were a stick. Thus the brain of each
kind is hereditarily supplied with certain nervous connections wanting
in the brain of other kinds. We need no more doubt the reality of the
material distinction in the brain than we need doubt it in the limbs
and jaws of the greyhound and the bull-dog. Those who have watched
closely the different races of men can hardly hesitate to believe that
something analogous exists in our own case. While the highest types
are, as Mr. Herbert Spencer well puts it, to some extent 'organically
moral' and structurally intelligent, the lowest types are congenitally
deficient. A European child learns to read almost by nature (for
Dogberry was essentially right after all), while a Negro child learns
to read by painful personal experience. And savages brought to Europe
and 'civilised' for years often return at last with joy to their native
home, cast off their clothes and their outer veneering, and take once
more to the only life for which their nervous organisation naturally
fits them. 'What is bred in the bone,' says the wise old proverb, 'will
out in the blood.'




XX.

_BLACKCOCK._


Just at the present moment the poor black grouse are generally having a
hot time of it. After their quiet spring and summer they suddenly find
their heath-clad wastes invaded by a strange epidemic of men, dogs, and
hideous shooting implements; and being as yet but young and
inexperienced, they are falling victims by the thousand to their
youthful habit of clinging closely for protection to the treacherous
reed-beds. A little later in the season, those of them that survive
will have learned more wary ways: they will pack among the juniper
thickets, and become as cautious on the approach of perfidious man as
their cunning cousins, the red grouse of the Scottish moors. But so far
youthful innocence prevails; no sentinels as yet are set to watch for
the distant gleam of metal, and no foreshadowing of man's evil intent
disturbs their minds as they feed in fancied security upon the dry
seeds of the marsh plants in their favourite sedges.

The great families of the pheasants and partridges, in which the
blackcock must be included, may be roughly divided into two main
divisions so far as regards their appearance and general habits. The
first class consists of splendidly coloured and conspicuous birds, such
as the peacock, the golden pheasant, and the tragopan; and these are,
almost without exception, originally jungle-birds of tropical or
sub-tropical lands, though a few of them have been acclimatised or
domesticated in temperate countries. They live in regions where they
have few natural enemies, and where they are little exposed to the
attacks of man. Most of them feed more or less upon fruits and
bright-coloured food-stuffs, and they are probably every one of them
polygamous in their habits. Thus we can hardly doubt that the male
birds, which alone possess the brilliant plumage of their kind, owe
their beauty to the selective preference of their mates; and that the
taste thus displayed has been aroused by their relation to their
specially gay and bright natural surroundings. The most lovely species
of pheasants are found among the forests of the Himalayas and the Malay
Archipelago, with their gorgeous fruits and flowers and their exquisite
insects. Even in England our naturalised Oriental pheasants still
delight in feeding upon blackberries, sloes, haws, and the pretty fruit
of the honeysuckle and the holly; while our dingier partridges and
grouse subsist rather upon heather, grain, and small seeds. Since there
must always be originally nearly as many cocks as hens in each brood,
it will follow that only the handsomest or most attractive in the
polygamous species will succeed in attracting to them a harem; and as
beauty and strength usually go hand in hand, they will also be the
conquerors in those battles which are universal with all polygamists in
the animal world. Thus we account for the striking and conspicuous
difference between the peacock and the peahen, or between the two sexes
in the pheasant, the turkey, and the domestic fowl.

On the other hand, the second class consists of those birds which are
exposed to the hostility of many wild animals, and more especially of
man. These kinds, typified by the red grouse, partridges, quails, and
guinea-fowls, are generally dingy in hue, with a tendency to
pepper-and-salt in their plumage; and they usually display very little
difference between the sexes, both cocks and hens being coloured and
feathered much alike. In short, they are protectively designed, while
the first class are attractive. Their plumage resembles as nearly as
possible the ground on which they sit or the covert in which they
skulk. They are thus enabled to escape the notice of their natural
enemies, the birds of prey, from whose ravages they suffer far more in
a state of nature than from any other cause. We may take the ptarmigans
as the most typical example of this class of birds; for in summer their
zigzagged black-and-brown attire harmonises admirably with the patches
of faded heath and soil upon the mountain-side, as every sportsman well
knows; while in the winter their pure white plumage can scarcely be
distinguished from the snow in which they lie huddled and crouching
during the colder months. Even in the brilliant species, Mr. Darwin and
Mr. Wallace have pointed out that the ornamental colours and crest are
never handed down to female descendants when the habits of nesting are
such that the mothers would be exposed to danger by their
conspicuousness during incubation. Speaking broadly, only those female
birds which build in hollow trees or make covered nests have bright
hues at all equal to those of the males. A female bird nesting in the
open would be cut off if it showed any tendency to reproduce the
brilliant colouring of its male relations.

Now the blackcock occupies to some extent an intermediate position
between these two types of pheasant life, though it inclines on the
whole to that first described. It is a polygamous bird, and it differs
most conspicuously in plumage from its consort, the grey-hen, as may be
seen from the very names by which they are each familiarly known. Yet,
though the blackcock is handsome enough and shows evident marks of
selective preference on the part of his ancestral hens, this preference
has not exerted itself largely in the direction of bright colour, and
that for two reasons. In the first place the blackcock does not feed
upon brilliant foodstuffs, but upon small bog-berries, hard seeds, and
young shoots of heather, and it is probable that an aesthetic taste for
pure and dazzling hues is almost confined to those creatures which,
like butterflies, hummingbirds, and parrots, seek their livelihood
amongst beautiful fruits or flowers. In the second place, red, yellow,
or orange ornaments would render the blackcock too conspicuous a mark
for the hawk, the falcon, or the weapons of man; for we must remember
that only those blackcocks survive from year to year and hand down
their peculiarities to descendants which succeed in evading the talons
of birds of prey or the small-shot of sportsmen. Feeding as they do on
the open, they are not protected, like jungle-birds, by the shade of
trees. Thus any bird which showed any marked tendency to develop
brighter or more conspicuous plumage would almost infallibly fall a
victim to one or other of his many foes; and however much his beauty
might possibly charm his mates (supposing them for the moment to
possess a taste for colour), he would have no chance of transmitting it
to a future generation. Accordingly, the decoration of the blackcock is
confined to glossy plumage and a few ornamental tail-feathers. The
grey-hen herself still retains the dull and imitative colouring of the
grouse race generally; and as for the cocks, even if a fair percentage
of them is annually cut off through their comparative conspicuousness
as marks, their loss is less felt than it would be in a monogamous
community. Every spring the blackcock hold a sort of assembly or court
of love, at which the pairing for the year takes place. The cocks
resort to certain open and recognised spots, and there invite the
grey-hens by their calls, a little duelling going on meanwhile. During
these meetings they show off their beauty with great emulation, after
the fashion with which we are all familiar in the case of the peacock;
and when they have gained the approbation of their mates and maimed or
driven away their rivals, they retire with their respective families.
Unfortunately, like most polygamists, they make bad fathers, leaving
the care of their young almost entirely to the hens. According to the
veracious account of Artemus Ward, the great Brigham Young himself
pathetically descanted upon the difficulty of extending his parental
affections to 131 children. The imperious blackcock seems to labour
under the same sentimental disadvantage.




XXI.

_BINDWEED._


Not the least beautiful among our native wild flowers are many of those
which grow, too often unheeded, along the wayside of every country
road. The hedge-bordered highway on which I am walking to-day, to take
my letters to the village post, is bordered on either side with such a
profusion of colour as one may never see equalled during many years'
experience of tropical or sub-tropical lands. Jamaica and Ceylon could
produce nothing so brilliant as this tangled mass of gorse, and
thistle, and St. John's-wort, and centaury, intermingled with the lithe
and whitening sprays of half-opened clematis. And here, on the very
edge of the road, half-smothered in its grey dust, I have picked a
pretty little convolvulus blossom, with a fly buried head-foremost in
its pink bell; and I am carrying them both along with me as I go, for
contemplation and study. For this little flower, the lesser bindweed,
is rich in hints as to the strange ways in which Nature decks herself
with so much waste loveliness, whose meaning can only be fully read by
the eyes of man, the latest comer among her children. The old school of
thinkers imagined that beauty was given to flowers and insects for the
sake of man alone: it would not, perhaps, be too much to say that, if
the new school be right, the beauty is not in the flowers and insects
themselves at all, but is read into them by the fancy of the human
race. To the butterfly the world is a little beautiful; to the
farm-labourer it is only a trifle more beautiful: but to the cultivated
man or the artist it is lovely in every cloud and shadow, in every tiny
blossom and passing bird.

The outer face of the bindweed, the exterior of the cup, so to speak,
is prettily marked with five dark russet-red bands, between which the
remainder of the corolla is a pale pinky-white in hue. Nothing could be
simpler and prettier than this alternation of dark and light belts; but
how is it produced? Merely thus. The convolvulus blossom in the bud is
twisted or contorted round and round, part of the cup being folded
inside, while the five joints of the corolla are folded outside, much
after the fashion of an umbrella when rolled up. And just as the bits
of the umbrella which are exposed when it is folded become faded in
colour, so the bits of the bindweed blossom which are outermost in the
bud become more deeply oxidised than the other parts, and acquire a
russet-red hue. The belted appearance which thus results is really as
accidental, if I may use that unphilosophical expression, as the belted
appearance of the old umbrella, or the wrinkles caused by the waves on
the sea-sands. The flower happened to be folded so, and got coloured,
or discoloured, accordingly. But when a man comes to look at it, he
recognises in the alternation of colours and the symmetrical
arrangement one of those elements of beauty with which he is familiar
in the handicraft of his own kind. He reads an intention into this
result of natural causes, and personifies Nature as though she worked
with an aesthetic design in view, just as a decorative artist works when
he similarly alternates colours or arranges symmetrical and radial
figures on a cup or other piece of human pottery. The beauty is not in
the flower itself; it is in the eye which sees and the brain which
recognises the intellectual order and perfection of the work.

I turn the bindweed blossom mouth upward, and there I see that these
russet marks, though paler on the inner surface, still show faintly
through the pinky-white corolla. This produces an effect not unlike
that of a delicate shell cameo, with its dainty gradations of
semi-transparent white and interfusing pink. But the inner effect can
be no more designed with an eye to beauty than the outer one was; and
the very terms in which I think of it clearly show that my sense of its
loveliness is largely derived from comparison with human handicraft. A
farmer would see in the convolvulus nothing but a useless weed; a
cultivated eye sees in it just as much as its nature permits it to see.
I look closer, and observe that there are also thin lines running from
the circumference to the centre, midway between the dark belts. These
lines, which add greatly to the beauty of the flower, by marking it out
into zones, are also due to the folding in the bud; they are the inner
angles of the folds, just as the dark belts are the overlapping edges
of the outer angles. But, in addition to the minor beauty of these
little details, there is the general beauty of the cup as a whole,
which also calls for explanation. Its shape is as graceful as that of
any Greek or Etruscan vase, as swelling and as simply beautiful as any
beaker. Can I account for these peculiarities on mere natural grounds
as well as for the others? I somehow fancy I can.

The bindweed is descended from some earlier ancestors which had five
separate petals, instead of a single fused and circular cup. But in the
convolvulus family, as in many others, these five petals have joined
into a continuous rim or bowl, and the marks on the blossom where it
was folded in the bud still answer to the five petals. In many plants
you can see the pointed edges of the former distinct flower-rays as
five projections, though their lower parts have coalesced into a
bell-shaped or tubular blossom, as in the common harebell. How this
comes to pass we can easily understand if we watch an unopened fuchsia;
for there the four bright-coloured sepals remain joined together till
the bud is ready to open, and then split along a line marked out from
the very first. In the plastic bud condition it is very easy for parts
usually separate so to grow out in union with one another. I do not
mean that separate pieces actually grow together, but that pieces which
usually grow distinct sometimes grow united from the very first. Now,
four or five petals, radially arranged, in themselves produce that kind
of symmetry which man, with his intellectual love for order and
definite patterns, always finds beautiful. But the symmetry in the
flower simply results from the fact that a single whorl of leaves has
grown into this particular shape, while the outer and inner whorls have
grown into other shapes; and every such whorl always and necessarily
presents us with an example of the kind of symmetry which we so much
admire. Again, when the petals forming a whorl coalesce, they must, of
course, produce a more or less regular circle. If the points of the
petals remain as projections, then we get a circle with vandyked edges,
as in the lily of the valley; if they do not project, then we get a
simple circular rim, as in the bindweed. All the lovely shapes of
bell-blossoms are simply due to the natural coalescence of four, five,
or six petals; and this coalescence is again due to an increased
certainty of fertilisation secured for the plant by the better
adaptation to insect visits. Similarly, we know that the colours of the
corolla have been acquired as a means of rendering the flower
conspicuous to the eyes of bees or butterflies; and the hues which so
prove attractive to insects are of the same sort which arouse
pleasurable stimulation in our own nerves. Thus the whole loveliness of
flowers is in the last resort dependent upon all kinds of accidental
causes--causes, that is to say, into which the deliberate design of the
production of beautiful effects did not enter as a distinct factor.
Those parts of nature which are of such a sort as to arouse in us
certain feelings we call beautiful; and those parts which are of such a
sort as to arouse in us the opposite feelings we call ugly. But the
beauty and the ugliness are not parts of the things; they are merely
human modes of regarding some among their attributes. Wherever in
nature we find pure colour, symmetrical form, and intricate variety of
pattern, we imagine to ourselves that nature designs the object to be
beautiful. When we trace these peculiarities to their origin, however,
we find that each of them owes its occurrence to some special fact in
the history of the object; and we are forced to conclude that the
notion of intentional design has been read into it by human analogies.
All nature is beautiful, and most beautiful for those in whom the sense
of beauty is most highly developed; but it is not beautiful at all
except to those whose own eyes and emotions are fitted to perceive its
beauty.




XXII.

_ON CORNISH CLIFFS._


I am lying on my back in the sunshine, close to the edge of a great
broken precipice, beside a clambering Cornish fishing village. In front
of me is the sea, bluer than I have seen it since last I lay in like
fashion a few months ago on the schistose slopes of the Maurettes at
Hyeres, and looked away across the plain to the unrippled Mediterranean
and the Stoechades of the old Phocaean merchant-men. On either hand rise
dark cliffs of hornblende and serpentine, weathered above by wind and
rain, and smoothed below by the ceaseless dashing of the winter waves.
Up to the limit of the breakers the hard rock is polished like Egyptian
syenite; but beyond that point it is fissured by disintegration and
richly covered with a dappled coat of grey and yellow lichen. The slow
action of the water, always beating against the solid wall of
crystalline rock, has eaten out a thousand such little bays all along
this coast, each bounded by long headlands, whose points have been worn
into fantastic pinnacles, or severed from the main mass as precipitous
islets, the favourite resting-place of gulls and cormorants. No grander
coast scenery can be found anywhere in the southern half of Great
Britain.

Yet when I turn inland I see that all this beauty has been produced by
the mere interaction of the sea and the barren moors of the interior.
Nothing could be flatter or more desolate than the country whose
seaward escarpment gives rise to these romantic coves and pyramidal
rocky islets. It stretches away for miles in a level upland waste, only
redeemed from complete barrenness by the low straggling bushes of the
dwarf furze, whose golden blossom is now interspersed with purple
patches of ling or the paler pink flowers of the Cornish heath. Here,
then, I can see beauty in nature actually beginning to be. I can trace
the origin of all these little bays from small rills which have worn
themselves gorge-like valleys through the hard igneous rock, or else
from fissures finally giving rise to sea-caves, like the one into which
I rowed this morning for my early swim. The waves penetrate for a
couple of hundred yards into the bowels of the rock, hemmed in by walls
and roof of dark serpentine, with its interlacing veins of green and
red bearing witness still to its once molten condition; and at length
in most cases they produce a blow-hole at the top, communicating with
the open air above, either because the fissure there crops up to the
surface, or else through the agency of percolation. At last, the roof
falls in; the boulders are carried away by the waves; and we get a long
and narrow cove, still bounded on either side by tall cliffs, whose
summits the air and rainfall slowly wear away into jagged and exquisite
shapes. Yet in all this we see nothing but the natural play of cause
and effect; we attribute the beauty of the scene merely to the
accidental result of inevitable laws; we feel no necessity for calling
in the aid of any underlying aesthetic intention on the part of the sea,
or the rock, or the creeping lichen, in order to account for the
loveliness which we find in the finished picture. The winds and the
waves carved the coast into these varied shapes by force of blind
currents working on hidden veins of harder or softer crystal: and we
happen to find the result beautiful, just as we happen to find the
inland level dull and ugly. The endless variety of the one charms us,
while the unbroken monotony of the other wearies and repels us.

Here on the cliff I pick up a pretty fern and a blossoming head of the
autumn squill--though so sweet a flower deserves a better name. This
fern, too, is lovely in its way, with its branching leaflets and its
rich glossy-green hue. Yet it owes its shape just as truly to the
balance of external and internal forces acting upon it as does the
Cornish coast-line. How comes it then that in the one case we
instinctively regard the beauty as accidental, while in the other we
set it down to a deliberate aesthetic intent? I think because, in the
first case, we can actually see the forces at work, while in the second
they are so minute and so gradual in their action as to escape the
notice of all but trained observers. This fern grows in the shape that
I see, because its ancestors have been slowly moulded into such a form
by the whole group of circumstances directly or indirectly affecting
them in all their past life; and the germ of the complex form thus
produced was impressed by the parent plant upon the spore from which
this individual fern took its birth. Over yonder I see a great
dock-leaf; it grows tall and rank above all other plants, and is able
to spread itself boldly to the light on every side. It has abundance of
sunshine as a motive-power of growth, and abundance of air from which
to extract the carbon that it needs. Hence it and all its ancestors
have spread their leaves equally on every side, and formed large flat
undivided blades. Leaves such as these are common enough; but nobody
thinks of calling them pretty. Their want of minute subdivision, their
monotonous outline, their dull surface, all make them ugly in our eyes,
just as the flatness of the Cornish plain makes it also ugly to us.
Where symmetry is slightly marked and variety wanting, as in the
cabbage leaf, the mullein, and the burdock, we see little or nothing to
admire. On the other hand, ferns generally grow in hedge-rows or
thickets, where sunlight is much interrupted by other plants, and where
air is scanty, most of its carbon being extracted by neighbouring
plants which leave but little for one another's needs. Hence you may
notice that most plants growing under such circumstances have leaves
minutely sub-divided, so as to catch such stray gleams of sunlight and
such floating particles of carbonic acid as happen to pass their way.
Look into the next tangled and overgrown hedge-row which you happen to
pass, and you will see that almost all its leaves are of this
character; and when they are otherwise the anomaly usually admits of an
easy explanation. Of course the shapes of plants are mostly due to
their normal and usual circumstances, and are comparatively little
influenced by the accidental surroundings of individuals; and so, when
a fern of such a sort happens to grow like this one on the open, it
still retains the form impressed upon it by the life of its ancestors.
Now, it is the striking combination of symmetry and variety in the
fern, together with vivid green colouring, which makes us admire it so
much. Not only is the frond as a whole symmetrical, but each frondlet
and each division of the frondlet is separately symmetrical as well.
This delicate minuteness of workmanship, as we call it, reminds us of
similar human products--of fine lace, of delicate tracery, of skilful
filagree or engraving. Almost all the green leaves which we admire are
noticeable, more or less, for the same effects, as in the case of
maple, parsley, horse-chestnut, and vine. It is true, mere glossy
greenness may, and often does, make up for the want of variety, as we
see in the arum, holly, laurel, and hart's-tongue fern; but the leaves
which we admire most of all are those which, like maidenhair, are both
exquisitely green and delicately designed in shape. So that, in the
last resort, the beauty of leaves, like the beauty of coast scenery, is
really due to the constant interaction of a vast number of natural
laws, not to any distinct aesthetic intention on the part of Nature.

On the other hand, the pretty pink squill reminds me that
semi-conscious aesthetic design in animals has something to do with the
production of beauty in nature--at least, in a few cases. Just as a
flower garden has been intentionally produced by man, so flowers have
been unconsciously produced by insects. As a rule, all bright red,
blue, or orange in nature (except in the rare case of gems) is due to
animal selection, either of flowers, fruits, or mates. Thus we may say
that beauty in the inorganic world is always accidental; but in the
organic world it is sometimes accidental and sometimes designed. A
waterfall is a mere result of geological and geographical causes, but a
bluebell or a butterfly is partly the result of a more or less
deliberate aesthetic choice.


    LONDON: PRINTED BY
    SPOTTISWOODE AND CO., NEW-STREET SQUARE
    AND PARLIAMENT STREET




_January, 1881._

[Illustration]

CHATTO & WINDUS'S

_LIST OF BOOKS._


Imperial 8vo, with 147 fine Engravings, half-morocco, 36_s._

THE EARLY TEUTONIC, ITALIAN,

AND FRENCH MASTERS.

Translated and Edited from the Dohme Series by A. H. KEANE, M.A.I.
With numerous Illustrations.

"_Cannot fail to be of the utmost use to students of art
history._"--TIMES.

Second Edition, Revised, Crown 8vo, 1,200 pages, half-roxburghe,
12_s._ 6_d._

THE READER'S HANDBOOK

OF ALLUSIONS, REFERENCES, PLOTS, AND STORIES.

By the Rev. Dr. BREWER.

    "_Dr. Brewer has produced a wonderfully comprehensive dictionary
    of references to matters which are always cropping up in
    conversation and in everyday life, and writers generally will have
    reason to feel grateful to the author for a most handy volume,
    supplementing in a hundred ways their own knowledge or ignorance,
    as the case may be.... It is something more than a mere dictionary
    of quotations, though a most useful companion to any work of that
    kind, being a dictionary of most of the allusions, references,
    plots, stories, and characters which occur in the classical poems,
    plays, novels, romances, &c., not only of our own country, but of
    most nations, ancient and modern._"--TIMES.

    "_A welcome addition to the list of what may be termed the really
    handy reference-books, combining as it does a dictionary of
    literature with a condensed encyclopaedia, interspersed with items
    one usually looks for in commonplace books. The appendices contain
    the dates of celebrated and well-known dramas, operas, poems, and
    novels, with the names of their authors._"--SPECTATOR.

    "_There seems to be scarcely anything concerning which one may not
    'overhaul' Dr. Brewer's book with profit. It is a most laborious
    and patient compilation, and, considering the magnitude of the
    work, successfully performed.... Many queries which appear in our
    pages could be satisfactorily answered by a reference to 'The
    Readers Handbook:' no mean testimony to the value of Dr. Brewer's
    book._"--NOTES AND QUERIES.


_A HANDBOOK FOR POTTERY-PAINTERS._

Crown 8vo, cloth extra, 6_s._

~PRACTICAL KERAMICS FOR STUDENTS.~
      By CHARLES A. JANVIER.


Crown 8vo, Coloured Frontispiece and Illustrations, cloth gilt,
7_s._ 6_d._

  ~Advertising, A History of.~
      From the Earliest Times. Illustrated by Anecdotes, Curious
      Specimens, and Notes of Successful Advertisers. By HENRY
      SAMPSON.

    "_We have here a book to be thankful for. We recommend the present
    volume, which takes us through antiquity, the middle ages, and the
    present time, illustrating all in turn by advertisements--serious,
    comic, roguish, or downright rascally. The volume is full of
    entertainment from the first page to the last._"--ATHENAEUM.


Crown 8vo, cloth extra, with 639 Illustrations, 7_s._ 6_d._

  ~Architectural Styles, A Handbook of.~
      Translated from the German of A. ROSENGARTEN by W.
      COLLETT-SANDARS. With 639 Illustrations.


Crown 8vo, with Portrait and Facsimile, cloth extra, 7_s._ 6_d._

  ~Artemus Ward's Works~;
      The Works of CHARLES FARRER BROWNE, better known as ARTEMUS
      WARD. With Portrait, Facsimile of Handwriting, &c.


Second Edition, demy 8vo, cloth extra, with Map and Illustrations,
18_s._

  ~Baker's Clouds in the East~;
      Travels and Adventures on the Perso-Turcoman Frontier. By
      VALENTINE BAKER. Second Edition, revised and corrected.


Crown 8vo, cloth extra, 6_s._

  ~Balzac.--The Comedie Humaine and its Author.~
      With Translations from Balzac. By H. H. WALKER.


Crown 8vo, cloth extra, 7_s._ 6_d._

  ~Bankers, A Handbook of London~;

      With some Account of their Predecessors, the Early Goldsmiths;
      together with Lists of Bankers from 1677 to 1876. By F. G.
      HILTON PRICE.


  ~Bardsley (Rev. C. W.), Works by:~

      ~English Surnames:~ Their Sources and Significations. By
      CHARLES WAREING BARDSLEY, M.A. Second Edition, revised
      throughout and considerably Enlarged. Crown 8vo, cloth extra,
      7_s._ 6_d._

    "_Mr. Bardsley has faithfully consulted the original mediaeval
    documents and works from which the origin and development of
    surnames can alone be satisfactorily traced. He has furnished a
    valuable contribution to the literature of surnames, and we hope
    to hear more of him in this field._"--TIMES.

      ~Curiosities of Puritan Nomenclature.~ By CHARLES W. BARDSLEY.
      Crown 8vo, cloth extra, 7_s._ 6_d._

    "_The book is full of interest; in fact, it is just the thorough
    and scholarly work we should expect from the author of 'English
    Surnames.'_"--GRAPHIC.


Small 4to, green and gold, 6_s._ 6_d._; gilt edges, 7_s._ 6_d._

  ~Bechstein's As Pretty as Seven~,
      And other German Stories. Collected by LUDWIG BECHSTEIN. With
      Additional Tales by the Brothers GRIMM, and 100 Illustrations by
      RICHTER.


A New Edition, crown 8vo, cloth extra, 7_s._ 6_d._

  ~Bartholomew Fair, Memoirs of.~
      By HENRY MORLEY. New Edition, with One Hundred Illustrations.


Imperial 4to, cloth extra, gilt and gilt edges, 21_s._ per volume.

  ~Beautiful Pictures by British Artists:~
      A Gathering of Favourites from our Picture Galleries. In Two
      Series.

      The FIRST SERIES including Examples by WILKIE, CONSTABLE, TURNER,
      MULREADY, LANDSEER, MACLISE, E. M. WARD, FRITH, SIR JOHN GILBERT,
      LESLIE, ANSDELL, MARCUS STONE, SIR NOEL PATON, FAED, EYRE CROWE,
      GAVIN O'NEIL, and MADOX BROWN.

      The SECOND SERIES containing Pictures by ARMITAGE, FAED, GOODALL,
      HEMSLEY, HORSLEY, MARKS, NICHOLLS, SIR NOEL PATON, PICKERSGILL,
      G. SMITH, MARCUS STONE, SOLOMON, STRAIGHT, E. M. WARD, and
      WARREN.

All engraved on Steel in the highest style of Art. Edited, with
Notices of the Artists, by SYDNEY ARMYTAGE, M.A.

    "_This book is well got up, and good engravings by Jeens, Lumb
    Stocks, and others, bring back to us Royal Academy Exhibitions of
    past years_."--TIMES.


_NEW NOVEL BY THE AUTHOR OF "THE NEW REPUBLIC."_

  ~Belgravia for January, 1881~,
      Price One Shilling, contains the First Parts of Three New
      Serials, viz.:--

      1. A ROMANCE OF THE NINETEENTH CENTURY, by W. H. MALLOCK,
      Author of "The New Republic."

      2. JOSEPH'S COAT, by D. CHRISTIE MURRAY, Author of "A Life's
      Atonement." With Illustrations by F. BARNARD.

      3. ROUND ABOUT ETON AND HARROW, by ALFRED RIMMER. With numerous
      Illustrations.

[asterism] _The FORTY-SECOND Volume of BELGRAVIA, elegantly bound
in crimson cloth, full gilt side and back, gilt edges, price 7s. 6d.,
is now ready.--Handsome Cases for binding volumes can be had at 2s.
each._


Demy 8vo, Illustrated, uniform in size for binding.

  ~Blackburn's Art Handbooks:~

    ~Academy Notes, 1875. ~ With 40 Illustrations. 1_s._

    ~Academy Notes, 1876.~ With 107 Illustrations. 1_s._

    ~Academy Notes, 1877.~ With 143 Illustrations. 1_s._

    ~Academy Notes, 1878.~ With 150 Illustrations. 1_s._

    ~Academy Notes, 1879.~ With 146 Illustrations. 1_s._

    ~Academy Notes, 1880.~ With 126 Illustrations.

    ~Grosvenor Notes, 1878.~ With 68 Illustrations. 1_s._

    ~Grosvenor Notes, 1879.~ With 60 Illustrations. 1_s._

    ~Grosvenor Notes, 1880.~ With  48 Illustrations.

    ~Pictures at the Paris Exhibition, 1878.~ 80 Illustrations.

    ~Pictures at South Kensington.~ (The Raphael Cartoons,
        Sheepshanks Collection, &c.) With 70 Illustrations, 1_s._

    ~The English Pictures at the National Gallery.~ With 114
        Illustrations. 1_s._

    ~The Old Masters at the National Gallery.~ 128 Illusts.
        1_s._ 6_d._

    ~Academy Notes, 1875 79.~ Complete in One Volume, with nearly
        600 Illustrations in Facsimile. Demy 8vo, cloth limp,
        6_s._

    ~A Complete Illustrated Catalogue to the National Gallery.~
        With Notes by HENRY BLACKBURN, and 242 Illustrations.
        Demy 8vo, cloth limp, 3_s._

_UNIFORM WITH "ACADEMY NOTES."_

    ~Royal Scottish Academy Notes, 1878.~ 117 Illustrations, 1_s._

    ~Royal Scottish Academy Notes, 1879.~ 125 Illustrations, 1_s._

    ~Royal Scottish Academy Notes, 1880.~ 114 Illustrations, 1_s._

    ~Glasgow Institute of Fine Arts Notes, 1878.~ 95 Illusts. 1_s._

    ~Glasgow Institute of Fine Arts Notes, 1879.~ 100 Illusts. 1_s._

    ~Glasgow Institute of Fine Arts Notes, 1880.~ 120 Illusts. 1_s._

    ~Walker Art Gallery Notes, Liverpool, 1878.~ 112 Illusts. 1_s._

    ~Walker Art Gallery Notes, Liverpool, 1879.~ 100 Illusts. 1_s._

    ~Walker Art Gallery Notes, Liverpool, 1880.~ 100 Illusts. 1_s._

    ~Royal Manchester Institution Notes, 1878.~ 88 Illustrations,
        1_s._

    ~Society of Artists Notes, Birmingham, 1878.~ 95 Illusts. 1_s._

    ~Children of the Great City.~ By F. W. LAWSON. With Facsimile
        Sketches by the Artist. Demy 8vo, 1_s._


Folio, half-bound boards, India Proofs, 21_s._

  ~Blake (William):~
      Etchings from his Works. By W. B. SCOTT. With descriptive Text.

    "_The best side of Blake's work is given here, and makes a really
    attractive volume, which all can enjoy.... The etching is of the
    best kind, more refined and delicate than the original
    work._"--SATURDAY REVIEW.


Crown 8vo. cloth extra, gilt, with Illustrations, 7_s._ 6_d._

  ~Boccaccio's Decameron~;
      or, Ten Days' Entertainment. Translated into English, with an
      Introduction by THOMAS WRIGHT, Esq., M.A., F.S.A. With Portrait,
      and STOTHARD'S beautiful Copperplates.


  ~Bowers' (G.) Hunting Sketches:~
      ~Canters in Crampshire.~ By G. BOWERS. I. Gallops from
      Gorseborough. II. Scrambles with Scratch Packs. III. Studies
      with Stag Hounds. Oblong 4to, half-bound boards, 21_s._

  ~Leaves from a Hunting Journal.~
      By G. POWERS. Coloured in facsimile of the originals. Oblong 4to.
      half-bound, 21_s._


Crown 8vo, cloth extra, gilt, 7_s._ 6_d._

  ~Brand's Observations on Popular Antiquities~,
      chiefly Illustrating the Origin of our Vulgar Customs,
      Ceremonies, and Superstitions. With the Additions of Sir HENRY
      ELLIS. An entirely New and Revised Edition, with fine full-page
      Illustrations.


Small crown 8vo, cloth extra, gilt, with full-page Portraits, 4_s._
6_d._

  ~Brewster's (Sir David) Martyrs of Science.~


Small crown 8vo, cloth extra, gilt, with Astronomical Plates, 4_s._
6_d._

  ~Brewster's (Sir D.) More Worlds than One~,
      the Creed of the Philosopher and the Hope of the Christian.

  ~Bret Harte, Works by:~

  ~Bret Harte's Collected Works.~
      Arranged and Revised by the Author. Complete in Five Vols., cr.
      8vo, cl. ex., 6_s._ each.

      Vol. I. COMPLETE POETICAL AND DRAMATIC WORKS. With Steel Plate
      Portrait, and an Introduction by the Author.

      Vol. II. EARLIER PAPERS--LUCK OF ROARING CAMP, and other
      Sketches--BOHEMIAN PAPERS--SPANISH AND AMERICAN LEGENDS.

      Vol. III. TALES OF THE ARGONAUTS--EASTERN SKETCHES.

      Vol. IV. GABRIEL CONROY.

      Vol. V. STORIES--CONDENSED NOVELS, &c.

  ~The Select Works of Bret Harte~,
      in Prose and Poetry. With Introductory Essay by J. M. BELLEW,
      Portrait of the Author, and 50 Illustrations. Crown 8vo, cloth
      extra, 7_s._ 6_d._

  ~An Heiress of Red Dog, and other Stories.~
      By BRET HARTE. Post 8vo, illustrated boards, 2_s._; cloth limp,
      2_s._. 6_d._

  ~The Twins of Table Mountain.~
      By BRET HARTE. Fcap. 8vo, picture cover, 1_s._; crown 8vo, cloth
      extra, 3_s._ 6_d._

  ~The Luck of Roaring Camp, and other Sketches.~
      By BRET HARTE. Post 8vo, illustrated boards, 2_s._

  ~Jeff Briggs's Love Story.~
      By BRET HARTE. Fcap. 8vo, picture cover, 1_s._; cloth extra,
      2_s._ 6_d._


Demy 8vo, profusely Illustrated in Colours, 30_s._

  ~British Flora Medica:~
      A History of the Medicinal Plants of Great Britain. Illustrated
      by a Figure of each Plant, COLOURED BY HAND. By BENJAMIN H.
      BARTON, F.L.S., and THOMAS CASTLE, M.D., F.R.S. A New Edition,
      revised and partly re-written by JOHN R. JACKSON, A.L.S.,
      Curator of the Museums of Economic Botany, Royal Gardens, Kew.


_THE STOTHARD BUNYAN._--Crown 8vo, cloth extra, gilt, 7_s._ 6_d._

  ~Bunyan's Pilgrim's Progress.~
      Edited by Rev. T. SCOTT. With 17 beautiful Steel Plates
      by STOTHARD, engraved by GOODALL; and numerous Woodcuts.


Crown 8vo, cloth extra, gilt, with Illustrations, 7_s._ 6_d._

  ~Byron's Letters and Journals.~
      With Notices of his Life. By THOMAS MOORE. A Reprint of
      the Original Edition, newly revised, with Twelve full-page
      Plates.


Demy 8vo, cloth extra, 14_s._

  ~Campbell's (Sir G.) White and Black:~
      The Outcome of a Visit to the United States. By SIR GEORGE
      CAMPBELL, M.P.

    "_Few persons are likely to take it up without finishing
    it._"--NONCONFORMIST.


Crown 8vo, cloth extra, 1_s._ 6_d._

  ~Carlyle (Thomas) On the Choice of Books.~
      With Portrait and Memoir.


Small 4to, cloth gilt, with Coloured Illustrations, 10_s._ 6_d._

  ~Chaucer for Children:~
      A Golden Key. By Mrs. H. R. HAWEIS. With Eight Coloured
      Pictures and numerous Woodcuts by the Author.


Demy 8vo, cloth limp, 2_s._ 6_d._

  ~Chaucer for Schools.~
      By Mrs. HAWEIS, Author of "Chaucer for Children."

    _This is a copious and judicious selection from Chaucer's Tales,
    with full notes on the history, manners, customs, and language of
    the fourteenth century, with marginal glossary and a literal
    poetical version in modern English in parallel columns with the
    original poetry. Six of the Canterbury Tales are thus presented,
    in sections of from 10 to 200 lines, mingled with prose narrative.
    "Chaucer for Schools" is issued to meet a widely-expressed want,
    and is especially adapted for class instruction. It may be
    profitably studied in connection with the maps and illustrations
    of "Chaucer for Children."_


Crown 8vo, cloth limp, with Map and Illustrations, 2_s._ 6_d._

  ~Cleopatra's Needle:~
      Its Acquisition and Removal to England. By Sir J. E. ALEXANDER.


Crown 8vo, cloth extra, gilt, 7_s._ 6_d._

  ~Colman's Humorous Works:~
      "Broad Grins," "My Nightgown and Slippers," and other Humorous
      Works, Prose and Poetical, of GEORGE COLMAN. With Life by G. B.
      BUCKSTONE, and Frontispiece by HOGARTH.


  ~Conway (Moncure D.), Works by:~

  ~Demonology and Devil-Lore.~
      By MONCURE D. CONWAY, M.A. Two Vols, royal 8vo, with 65
      Illustrations, 28_s._

    "_A valuable contribution to mythological literature.... There is
    much good writing, a vast fund of humanity, undeniable earnestness,
    and a delicate sense of humour, all set forth in pure
    English._"--CONTEMPORARY REVIEW.

  ~A Necklace of Stories.~
      By MONCURE D. CONWAY, M.A. Illustrated by W. J. HENNESSY. Square
      8vo, cloth extra, 6_s._

    "_This delightful 'Necklace of Stories' is inspired with lovely
    and lofty sentiments._"--ILLUSTRATED LONDON NEWS.


Demy 8vo, cloth extra, with Coloured Illustrations and Maps, 24_s._

  ~Cope's History of the Rifle Brigade~
      (The Prince Consort's Own), formerly the 95th. By Sir WILLIAM
      H. COPE, formerly Lieutenant, Rifle Brigade.


Crown 8vo, cloth extra, gilt, with 13 Portraits, 7_s._ 6_d._

  ~Creasy's Memoirs of Eminent Etonians~;
      with Notices of the Early History of Eton College. By Sir
      EDWARD CREASY, Author of "The Fifteen Decisive Battles
      of the World."


Crown 8vo, cloth extra, with Etched Frontispiece, 7_s._ 6_d._

  ~Credulities, Past and Present.~
      By WILLIAM JONES, F.S.A., Author of "Finger-Ring Lore," &c.


_NEW WORK by the AUTHOR OF "PRIMITIVE MANNERS AND
CUSTOMS."_--Crown 8vo, cloth extra, 6_s._

  ~Crimes and Punishments.~
      Including a New Translation of Beccaria's "Dei Delitti e delle
      Pene." By JAMES ANSON FARRER.


Crown 8vo, cloth gilt, Two very thick Volumes, 7_s._ 6_d._ each.

  ~Cruikshank's Comic Almanack.~
      Complete in TWO SERIES: The FIRST from 1835 to 1843; the SECOND
      from 1844 to 1853. A Gathering of the BEST HUMOUR of THACKERAY,
      HOOD, MAYHEW, ALBERT SMITH, A'BECKETT, ROBERT BROUGH, &c. With
      2,000 Woodcuts and Steel Engravings by CRUIKSHANK, HINE,
      LANDELLS, &c.


Parts I. to XIV. now ready, 21_s._ each.

  ~Cussans' History of Hertfordshire.~
      By JOHN E. CUSSANS. Illustrated with full-page Plates on
      Copper and Stone, and a profusion of small Woodcuts.

[asterism] _Parts XV. and XVI., completing the work, are just ready._

    "_Mr. Cussans has, from sources not accessible to Clutterbuck,
    made most valuable additions to the manorial history of the county
    from the earliest period downwards, cleared up many doubtful
    points, and given original details concerning various subjects
    untouched or imperfectly treated by that
    writer._"--ACADEMY.


Two Vols., demy 4to, handsomely bound in half-morocco, gilt, profusely
Illustrated with Coloured and Plain Plates and Woodcuts, price L7
7_s._

  ~Cyclopaedia of Costume~;
      or, A Dictionary of Dress--Regal, Ecclesiastical, Civil, and
      Military--from the Earliest Period in England to the reign of
      George the Third. Including Notices of Contemporaneous Fashions
      on the Continent, and a General History of the Costumes of the
      Principal Countries of Europe. By J. R. PLANCHE,
      Somerset Herald.

The Volumes may also be had _separately_ (each Complete in itself)
at L3 13_s._ 6_d._ each:

    Vol. I. ~THE DICTIONARY.~
    Vol. II. ~A GENERAL HISTORY OF COSTUME IN EUROPE.~

Also in 25 Parts, at 5_s._ each. Cases for binding, 5_s._
each.

    "_A comprehensive and highly valuable book of reference.... We
    have rarely failed to find in this book an account of an article
    of dress, while in most of the entries curious and instructive
    details are given.... Mr. Planche's enormous labour of love, the
    production of a text which, whether in its dictionary form or in
    that of the 'General History,' is within its intended scope
    immeasurably the best and richest work on Costume in English....
    This book is not only one of the most readable works of the kind,
    but intrinsically attractive and amusing._"--ATHENAEUM.

    "_A most readable and interesting work--and it can scarcely be
    consulted in vain, whether the reader is in search for information
    as to military, court, ecclesiastical, legal, or professional
    costume.... All the chromo-lithographs, and most of the woodcut
    illustrations--the latter amounting to several thousands--are very
    elaborately executed; and the work forms a livre de luxe which
    renders it equally suited to the library and the ladies'
    drawing-room._"--TIMES.


Square 8vo, cloth gilt, profusely Illustrated.

  ~Dickens.--About England with Dickens.~
      By ALFRED RIMMER. With Illustrations by the Author and CHARLES
      A. VANDERHOOF.

    [_In preparation._


Second Edition, revised and enlarged, demy 8vo, cloth extra, with
Illustrations. 24_s._

  ~Dodge's (Colonel) The Hunting Grounds of the Great West:~
      A Description of the Plains, Game, and Indians of the
      Great North American Desert. By RICHARD IRVING DODGE,
      Lieutenant-Colonel of the United States Army. With an
      Introduction by WILLIAM BLACKMORE; Map, and numerous
      Illustrations drawn by ERNEST GRISET.


Demy 8vo, cloth extra, 12_s._ 6_d._

  ~Doran's Memories of our Great Towns.~
      With Anecdotic Gleanings concerning their Worthies and their
      Oddities. By Dr. JOHN DORAN, F.S.A.


Second Edition, demy 8vo, cloth gilt, with Illustrations, 18_s._

  ~Dunraven's The Great Divide:~
      A Narrative of Travels in the Upper Yellowstone in the Summer of
      1874. By the EARL of DUNRAVEN. With Maps and numerous striking
      full-page Illustrations by VALENTINE W. BROMLEY.

    "_There has not for a long time appeared a better book of travel
    than Lord Dunraven's 'The Great Divide.'... This book is full of
    clever observation, and both narrative and illustrations are
    thoroughly good._"--ATHENAEUM.


Two Vols., crown 8vo, cloth extra, 21_s._

  ~Drury Lane (Old):~
      Fifty Years' Recollections of Author, Actor, and Manager. By
      EDWARD STIRLING.


Demy 8vo, cloth, 16_s._

  ~Dutt's India, Past and Present~;
      with Minor Essays on Cognate Subjects. By SHOSHEE CHUNDER DUTT,
      Rai Bahadoor.


Crown 8vo, cloth extra, gilt, with Illustrations, 6_s._

  ~Emanuel On Diamonds and Precious Stones~;
      their History, Value, and Properties; with Simple Tests for
      ascertaining their Reality. By HARRY EMANUEL, F.R.G.S. With
      numerous Illustrations, Tinted and Plain.


Demy 4to, cloth extra, with Illustrations, 36_s._

  ~Emanuel and Grego.--A History of the Goldsmith's and Jeweller's Art
  in all Ages and in all Countries.~
      By E. EMANUEL and JOSEPH GREGO. With numerous fine Engravings.

    [_In preparation._


Crown 8vo, cloth extra, with Illustrations, 7_s._ 6_d._

  ~Englishman's House, The:~
      A Practical Guide to all interested in Selecting or Building a
      House, with full Estimates of Cost, Quantities, &c. By C. J.
      RICHARDSON, Third Edition. With nearly 600 Illustrations.


Crown 8vo, cloth boards, 6_s._ per Volume.

  ~Early English Poets.~
      Edited, with Introductions and Annotations, by Rev. A. B.
      GROSART.

    "_Mr. Grosart has spent the most laborious and the most
    enthusiastic care on the perfect restoration and preservation of
    the text.... From Mr. Grosart we always expect and always receive
    the final results of most patient and competent
    scholarship._"--EXAMINER.

  1. ~Fletcher's (Giles, B.D.) Complete Poems:~
        Christ's Victorie in Heaven, Christ's Victorie on Earth,
        Christ's Triumph over Death, and Minor Poems. With
        Memorial-Introduction and Notes. One Vol.

  2. ~Davies' (Sir John) Complete Poetical Works~,
        including Psalms I. to L. in Verse, and other hitherto
        Unpublished MSS., for the first time Collected and Edited.
        Memorial-Introduction and Notes. Two Vols.

  3. ~Herrick's (Robert) Hesperides, Noble Numbers, and Complete
     Collected Poems.~
        With Memorial-Introduction and Notes, Steel Portrait, Index
        of First Lines, and Glossarial Index, &c. Three Vols.

  4. ~Sidney's (Sir Philip) Complete Poetical Works~,
        including all those in "Arcadia." With Portrait,
        Memorial-Introduction, Essay on the Poetry of Sidney, and
        Notes. Three Vols.


Crown 8vo, cloth extra, with nearly 300 Illustrations, 7_s._ 6_d._

  ~Evolution (Chapters on)~;
      A Popular History of the Darwinian and Allied Theories of
      Development. By ANDREW WILSON, Ph.D., F.R.S. Edin. &c.

    [_In preparation._

    _Abstract of Contents:_--The Problem Stated--Sketch of
    the Rise and Progress of Evolution--What Evolution is and
    what it is not--The Evidence for Evolution--The Evidence from
    Development--The Evidence from Rudimentary Organs--The Evidence
    from Geographical Distribution--The Evidence from Geology--
    Evolution and Environments--Flowers and their Fertilisation
    and Development--Evolution and Degeneration--Evolution and
    Ethics--The Relations of Evolution to Ethics and Theology, &c.
    &c.


Crown 8vo, cloth extra, 6_s._

  ~Evolutionist (The) At Large.~
      By GRANT ALLEN.


Two Vols., crown 8vo, cloth extra, 21_s._

  ~Ewald.--Stories from the State Papers.~
      By ALEX. CHARLES EWALD.

    [_In preparation._


Folio, cloth extra, L1 11_s._ 6_d._

  ~Examples of Contemporary Art.~
      Etchings from Representative Works by living English and Foreign
      Artists. Edited, with Critical Notes, by J. COMYNS CARR.

    "_It would not be easy to meet with a more sumptuous, and at
    the same time a more tasteful and instructive drawing-room
    book._"--NONCONFORMIST.


Crown 8vo, cloth extra, with Illustrations, 6_s._

  ~Fairholt's Tobacco:~
      Its History and Associations; with an Account of the Plant and
      its Manufacture, and its Modes of Use in all Ages and Countries.
      By F. W. FAIRHOLT, F.S.A. With Coloured Frontispiece and
      upwards of 100 Illustrations by the Author.


Crown 8vo, cloth extra, with Illustrations, 4_s._ 6_d._

  ~Faraday's Chemical History of a Candle.~
      Lectures delivered to a Juvenile Audience. A New Edition. Edited
      by W. CROOKES, F.C.S. With numerous Illustrations.


Crown 8vo, cloth extra, with Illustrations, 4_s._ 6_d._

  ~Faraday's Various Forces of Nature.~
      New Edition. Edited by W. CROOKES, F.C.S. Numerous Illustrations.


Crown 8vo, cloth extra, with Illustrations, 7_s._ 6_d._

  ~Finger-Ring Lore:~
      Historical, Legendary, and Anecdotal. By WM. JONES,
      F.S.A. With Hundreds of Illustrations of Curious Rings of all
      Ages and Countries.

    "_One of those gossiping books which are as full of amusement as
    of instruction._"--ATHENAEUM.


_NEW NOVEL BY JUSTIN McCARTHY._

  ~Gentleman's Magazine for January, 1881~,
      Price One Shilling, contains the First Chapters of a New Novel,
      entitled "THE COMET OF A SEASON," by JUSTIN MCCARTHY, M.P.,
      Author of "A History of Our Own Times," "Dear Lady Disdain," &c.
      SCIENCE NOTES, by W. MATTIEU WILLIAMS, F.R.A.S., will also be
      continued Monthly.

[asterism] _Now ready, the Volume for_ JULY _to_ DECEMBER, _1880,
cloth extra, price 8s. 6d.; and Cases for binding, price 2s. each._


_THE RUSKIN GRIMM._--Squire 8vo, cloth extra, 6_s._ 6_d._; gilt edges,
7_s._ 6_d._

  ~German Popular Stories.~
      Collected by the Brothers GRIMM, and Translated by EDGAR
      TAYLOR. Edited with an Introduction by JOHN RUSKIN. With 22
      Illustrations after the inimitable designs of GEORGE CRUIKSHANK.
      Both Series Complete.

    "_The illustrations of this volume ... are of quite sterling and
    admirable art, of a class precisely parallel in elevation to the
    character of the tales which they illustrate; and the original
    etchings, as I have before said in the Appendix to my 'Elements of
    Drawing,' were unrivalled in masterfulness of touch since Rembrandt
    (in some qualities of delineation, unrivalled even by him).... To
    make somewhat enlarged copies of them, looking at them through a
    magnifying glass, and never putting two lines where Cruikshank has
    put only one, would be an exercise in decision and severe drawing
    which would leave afterwards little to be learnt in
    schools._"--_Extract from Introduction by_ JOHN
    RUSKIN.


Post 8vo. cloth limp, 2_s._ 6_d._

  ~Glenny's A Year's Work in Garden and Greenhouse:~
      Practical Advice to Amateur Gardeners as to the Management of
      the Flower, Fruit, and Frame Garden. By GEORGE GLENNY.

    "_A great deal of valuable information, conveyed in very simple
    language. The amateur need not wish for a better guide._"--LEEDS
    MERCURY.



New and Cheaper Edition, demy 8vo, cloth extra, with Illustrations,
7_s._ 6_d._

  ~Greeks and Romans, The Life of the, Described from Antique
  Monuments.~
      By ERNST GUHL and W. KONER. Translated from the Third German
      Edition, and Edited by Dr. F. HUEFFER. With 545 Illustrations.


Crown 8vo, cloth extra, gilt, with Illustrations, 7_s._ 6_d._

  ~Greenwood's Low-Life Deeps:~
      An Account of the Strange Fish to be found there. By JAMES
      GREENWOOD. With Illustrations in tint by ALFRED CONCANEN.


Crown 8vo, cloth extra, gilt, with Illustrations, 7_s._ 6_d._

  ~Greenwood's Wilds of London:~
      Descriptive Sketches, from Personal Observations and Experience,
      of Remarkable Scenes, People, and Places in London. By JAMES
      GREENWOOD. With 12 Tinted Illustrations by ALFRED CONCANEN.


Square 16mo (Tauchnitz size), cloth extra, 2_s._ per volume.

  ~Golden Library, The:~

  ~Ballad History of England.~
      By W. C. BENNETT.

  ~Bayard Taylor's Diversions of the Echo Club.~

  ~Byron's Don Juan.~

  ~Emerson's Letters and Social Aims.~

  ~Godwin's (William) Lives of the Necromancers.~

  ~Holmes's Autocrat of the Breakfast Table.~
      With an Introduction by G. A. SALA.

  ~Holmes's Professor at the Breakfast Table.~

  ~Hood's Whims and Oddities.~
      Complete. With all the original Illustrations.

  ~Irving's (Washington) Tales of a Traveller.~

  ~Irving's (Washington) Tales of the Alhambra.~

  ~Jesse's (Edward) Scenes and Occupations of Country Life.~

  ~Lamb's Essays of Elia.~
      Both Series Complete in One Vol.

  ~Leigh Hunt's Essays:~
      A Tale for a Chimney Corner, and other Pieces. With Portrait,
      and Introduction by EDMUND OLLIER.

  ~Mallory's (Sir Thomas) Mort d'Arthur:~
      The Stories of King Arthur and of the Knights of the Round
      Table. Edited by B. MONTGOMERIE RANKING.

  ~Pascal's Provincial Letters.~
      A New Translation, with Historical Introduction and Notes, by
      T. M'CRIE, D.D.

  ~Pope's Poetical Works.~
      Complete.

  ~Rochefoucauld's Maxims and Moral Reflections.~
      With Notes, and an Introductory Essay by SAINTE-BEUVE.

  ~St. Pierre's Paul and Virginia, and The Indian Cottage.~
      Edited, with Life, by the Rev. E. CLARKE.

  ~Shelley's Early Poems~,
      and Queen Mab, with Essay by LEIGH HUNT.

  ~Shelley's Later Poems:~
      Laon and Cythna, &c.

  ~Shelley's Posthumous Poems~,
      the Shelley Papers, &c.

  ~Shelley's Prose Works~,
      including A Refutation of Deism, Zastrozzi, St. Irvyne, &c.

  ~White's Natural History of Selborne.~
      Edited, with additions, by THOMAS BROWN, F.L.S.


Crown 8vo, cloth gilt and gilt edges, 7_s._ 6_d._

  ~Golden Treasury of Thought, The:~
      An ENCYCLOPAEDIA OF QUOTATIONS from Writers of all Times
      and Countries. Selected and Edited by THEODORE TAYLOR.


Crown 8vo, cloth extra, gilt, with Illustrations, 4_s._ 6_d._

  ~Guyot's Earth and Man~;
      or, Physical Geography in its Relation to the History of
      Mankind. With Additions by Professors AGASSIZ, PIERCE, and GRAY;
      12 Maps and Engravings on Steel, some Coloured, and copious
      Index.


  ~Hake (Dr. Thomas Gordon), Poems by:~

      ~Maiden Ecstasy.~ Small 4to, cloth extra, 8_s._

      ~New Symbols.~ Crown 8vo, cloth extra, 6_s._

      ~Legends of the Morrow.~ Crown 8vo, cloth extra, 6_s._


Medium 8vo, cloth extra, gilt, with Illustrations, 7_s._ 6_d._

  ~Hall's (Mrs. S. C.) Sketches of Irish Character.~
      With numerous Illustrations on Steel and Wood by MACLISE,
      GILBERT, HARVEY, and G. CRUIKSHANK.

    "_The Irish Sketches of this lady resemble Miss Mitford's
    beautiful English sketches in 'Our Village,' but they are far
    more vigorous and picturesque and bright._"--BLACKWOOD'S
    MAGAZINE.


Post 8vo, cloth extra, 4_s._ 6_d._; a few large-paper copies,
half-Roxb., 10_s._ 6_d._

  ~Handwriting, The Philosophy of.~
      By Don FELIX DE SALAMANCA. With 134 Facsimiles of Signatures.

  ~Haweis (Mrs.), Works by:~

  ~The Art of Dress.~
      By Mrs. H. R. HAWEIS, Author of "The Art of Beauty," &c.
      Illustrated by the Author. Small 8vo, illustrated cover,
      1_s._; cloth limp, 1_s._ 6_d._

    "_A well-considered attempt to apply canons of good taste to the
    costumes of ladies of our time.... Mrs. Haweis writes frankly and
    to the point, she does not mince matters, but boldly remonstrates
    with her own sex on the follies they indulge in.... We may
    recommend the book to the ladies whom it
    concerns._"--ATHENAEUM.

  ~The Art of Beauty.~
      By Mrs. H. R. HAWEIS, Author of "Chaucer for Children."
      Square 8vo, cloth extra, gilt, gilt edges, with Coloured
      Frontispiece and nearly 100 Illustrations, 10_s._ 6_d._

[asterism] _See also_ CHAUCER, _pp. 5 and 6 of this Catalogue._


Complete in Four Vols., demy 8vo, cloth extra, 12_s._ each.

  ~History Of Our Own Times~,
      from the Accession of Queen Victoria to the General Election
      of 1880. By JUSTIN MCCARTHY, M.P.

    "_Criticism is disarmed before a composition which provokes little
    but approval. This is a really good book on a really interesting
    subject, and words piled on words could say no more for it....
    Such is the effect of its general justice, its breadth of view,
    and its sparkling buoyancy, that very few of its readers will
    close these volumes without looking forward with interest to the
    two_ [since published] _that are to follow._"--SATURDAY REVIEW.


Crown 8vo. cloth extra, 5_s._

  ~Hobhouse's The Dead Hand:~
      Addresses on the subject of Endowments and Settlements of
      Property. By Sir ARTHUR HOBHOUSE, Q.C., K.C.S.I.


Crown 8vo, cloth limp, with Illustrations, 2_s._ 6_d._

  ~Holmes's The Science of Voice Production and Voice
  Preservation:~
      A Popular Manual for the Use of Speakers and Singers. By
      GORDON HOLMES, L.R.C.P.E.


Crown 8vo, cloth extra, 4_s._ 6_d._

  ~Hollingshead's (John) Plain English.~

    "_I anticipate immense entertainment from the perusal of Mr.
    Hollingshead's 'Plain English,' which I imagined to be a
    philological work, but which I find to be a series of essays, in
    the Hollingsheadian or Sledge-Hammer style, on those matters
    theatrical with which lie is so eminently conversant._"--G. A.
    S. in the ILLUSTRATED LONDON NEWS.


Crown 8vo, cloth extra, gilt, 7_s._ 6_d._

  ~Hood's (Thomas) Choice Works, In Prose and Verse.~
      Including the CREAM OF THE COMIC ANNUALS. With Life of
      the Author, Portrait, and Two Hundred Illustrations.


Square crown 8vo, cloth extra, gilt edges, 6_s._

  ~Hood's (Tom) From Nowhere to the North Pole:~
      A Noah's Arkaeological Narrative. With 25 Illustrations by W.
      BRUNTON and E. C. BARNES.

    "_The amusing letterpress is profusely interspersed with the
    jingling rhymes which children love and learn so easily. Messrs.
    Brunton and Barnes do full justice to the writer's meaning, and a
    pleasanter result of the harmonious co-operation of author and
    artist could not be desired._"--TIMES.


Crown 8vo, cloth extra, gilt, 7_s._ 6_d._

  ~Hook's (Theodore) Choice Humorous Works~,
      including his Ludicrous Adventures, Bons-mots, Puns, and
      Hoaxes. With a new Life of the Author, Portraits, Facsimiles,
      and Illustrations.


Crown 8vo, cloth extra, 7_s._

  ~Horne's Orion:~
      An Epic Poem in Three Books. By RICHARD HENGIST HORNE. With a
      brief Commentary by the Author. With Photographic Portrait from
      a Medallion by SUMMERS. Tenth Edition.


Crown 8vo, cloth extra, 7_s._ 6_d._

  ~Howell's Conflicts of Capital and Labour Historically and
  Economically considered.~
      Being a History and Review of the Trade Unions of Great Britain,
      showing their Origin, Progress, Constitution, and Objects, in
      their Political, Social, Economical, and Industrial Aspects. By
      GEORGE HOWELL.

    "_This book is an attempt, and on the whole a successful attempt,
    to place the work of trade unions in the past, and their objects
    in the future, fairly before the public from the working man's
    point of view._"--PALL MALL GAZETTE.


Demy 8vo, cloth extra, 12_s._ 6_d._

  ~Hueffer's The Troubadours:~
      A History of Provencal Life and Literature in the Middle Ages.
      By FRANCIS HUEFFER.


Two Vols. 8vo, with 52 Illustrations and Maps, cloth extra, gilt, 14_s._

  ~Josephus, The Complete Works of.~
      Translated by WHISTON. Containing both "The Antiquities of the
      Jews" and "The Wars of the Jews."


A NEW EDITION, Revised and partly Re-written, with several New
Chapters and Illustrations, crown 8vo, cloth extra, 7_s._
6_d._

  ~Jennings' The Rosicrucians:~
      Their Rites and Mysteries. With Chapters on the Ancient Fire and
      Serpent Worshippers. By HARGRAVE JENNINGS. With Five full-page
      Plates and upwards of 300 Illustrations.


Small 8vo, cloth, full gilt, gilt edges, with Illustrations, 6_s._

  ~Kavanaghs' Pearl Fountain~,
      And other Fairy Stories. By BRIDGET and JULIA KAVANAGH. With
      Thirty Illustrations by J. MOYR SMITH.

    "_Genuine new fairy stories of the old type, some of them as
    delightful as the best of Grimm's 'German Popular Stories.'....
    For the most part the stories are downright, thorough-going fairy
    stories of the most admirable kind.... Mr. Moyr Smith's
    illustrations, too, are admirable._"--SPECTATOR.


Fcap. 8vo, illustrated boards.

  ~Kitchen Garden (Our):~
      The Plants we Grow, and How we Cook Them. By TOM JERROLD. Author
      of "The Garden that Paid the Rent." &c.

    [_In the press._


Crown 8vo, illustrated boards, with numerous Plates, 2_s._ 6_d._

  ~Lace (Old Point), and How to Copy and Imitate it.~
      By DAISY WATERHOUSE HAWKINS. With 17 Illustrations by the
      Author.


Crown 8vo, cloth extra, with numerous Illustrations, 10_s._ 6_d._

  ~Lamb (Mary and Charles):~
      Their Poems, Letters, and Remains. With Reminiscences and Notes
      by W. CAREW HAZLITT. With HANCOCK'S Portrait of the Essayist,
      Facsimiles of the Title-pages of the rare First Editions of
      Lamb's and Coleridge's Works, and numerous Illustrations.

    "_Very many passages will delight those fond of literary trifles;
    hardly any portion will fail in interest for lovers of Charles
    Lamb and his sister._"--STANDARD.


Small 8vo, cloth extra, 5_s._

  ~Lamb's Poetry for Children, and Prince Dorus.~
      Carefully Reprinted from unique copies.

    "_The quaint and delightful little book, over the recovery
    of which all the hearts of his lovers are yet warm with
    rejoicing._"--A. C. SWINBURNE.


Crown 8vo, cloth extra, gilt, with Portraits, 7_s._ 6_d._

  ~Lamb's Complete Works~,
      In Prose and Verse, reprinted from the Original Editions, with
      many Pieces hitherto unpublished. Edited, with Notes and
      Introduction, by R. H. SHEPHERD. With Two Portraits and
      Facsimile of a Page of the "Essay on Roast Pig."

    "_A complete edition of Lamb's writings, in prose and verse,
    has long been wanted, and is now supplied. The editor appears
    to have taken great pains to bring together Lamb's scattered
    contributions, and his collection contains a number of pieces
    which are now reproduced for the first time since their original
    appearance in various old periodicals._"--SATURDAY REVIEW.


Demy 8vo, cloth extra, with Maps and Illustrations, 18_s._

  ~Lamont's Yachting in the Arctic Seas~;
      or, Notes of Five Voyages of Sport and Discovery in the
      Neighbourhood of Spitzbergen and Novaya Zemlya. By JAMES
      LAMONT, F.R.G.S. With numerous full-page Illustrations by
      Dr. LIVESAY.

    "_After wading through numberless volumes of icy fiction,
    concocted narrative, and spurious biography of Arctic voyagers,
    it is pleasant to meet with a real and genuine volume.... He
    shows much tact in recounting his adventures, and they are so
    interspersed with anecdotes and information as to make them
    anything but wearisome.... The book, as a whole, is the most
    important addition made to our Arctic literature for a long
    time._"---ATHENAEUM.


Crown 8vo, cloth extra, 6_s._

  ~Lares and Penates~;
      or, The Background of Life. By FLORENCE CADDY.


Crown 8vo, cloth, full gilt, 7_s._ 6_d._

  ~Latter-Day Lyrics:~
      Poems of Sentiment and Reflection by Living Writers; selected
      and arranged, with Notes, by W. DAVENPORT ADAMS. With a Note on
      some Foreign Forms of Verse, by AUSTIN DOBSON.


Crown 8vo, cloth, full gilt, 6_s._

  ~Leigh's A Town Garland.~
      By HENRY S. LEIGH, Author of "Carols of Cockayne."

    "_If Mr. Leigh's verse survive to a future generation--and there
    is no reason why that honour should not be accorded productions so
    delicate, so finished, and so full of humour--their author will
    probably be remembered as the Poet of the Strand._"--ATHENAEUM.


Second Edition.--Crown 8vo, cloth extra, with Illustrations, 6_s._

  ~Leisure-Time Studies, chiefly Biological.~
      By ANDREW WILSON, F.R.S.E., Lecturer on Zoology and Comparative
      Anatomy in the Edinburgh Medical School.

    "_It is well when we can take up the work of a really qualified
    investigator, who in the intervals of his more serious professional
    labours sets himself to impart knowledge in such a simple and
    elementary form as may attract and instruct, with no danger of
    misleading the tyro in natural science. Such a work is this little
    volume, made up of essays and addresses written and delivered by
    Dr. Andrew Wilson, lecturer and examiner in science at Edinburgh
    and Glasgow, at leisure intervals in a busy professional life....
    Dr. Wilson's pages teem with matter stimulating to a healthy love
    of science and a reverence for the truths of
    nature._"--SATURDAY REVIEW.


Crown 8vo, cloth extra, with Illustrations, 7_s._ 6_d._

  ~Life in London~;
      or, The History of Jerry Hawthorn and Corinthian Tom. With the
      whole of CRUIKSHANK'S Illustrations, in Colours, after the
      Originals.


Crown 8vo, cloth extra, 6_s._

  ~Lights on the Way:~
      Some Tales within a Tale. By the late J. H. ALEXANDER, B.A.
      Edited, with an Explanatory Note, by H. A. PAGE, Author of
      "Thoreau: A Study."


Crown 8vo, cloth extra, with Illustrations, 7_s._ 6_d._

  ~Longfellow's Complete Prose Works.~
      Including "Outre Mer," "Hyperion," "Kavanagh," "The Poets
      and Poetry of Europe," and "Driftwood." With Portrait and
      Illustrations by VALENTINE BROMLEY.


Crown 8vo, cloth extra, gilt, with Illustrations, 7_s._ 6_d._

  ~Longfellow's Poetical Works.~
      Carefully Reprinted from the Original Editions. With numerous
      fine Illustrations on Steel and Wood.


Crown 8vo, cloth extra, 5_s._

  ~Lunatic Asylum, My Experiences in a.~
      By a SANE PATIENT.

    "_The story is clever and interesting, sad beyond measure though
    the subject be. There it no personal bitterness, and no violence
    or anger. Whatever may have been the evidence for our author's
    madness when he was consigned to an asylum, nothing can be clearer
    than his sanity when he wrote this book; it is bright, calm, and
    to the point._"--SPECTATOR.


Demy 8vo, with Fourteen full-page Plates, cloth boards 18_s._

  ~Lusiad (The) of Camoens.~
      Translated into English Spenserian verse by ROBERT FFRENCH
      DUFF, Knight Commander of the Portuguese Royal Order of
      Christ.


  ~Macquoid (Mrs.), Works by:~

  ~In the Ardennes.~
      By KATHARINE S. MACQUOID. With 50 fine Illustrations by
      THOMAS R. MACQUOID. Uniform with "Pictures and Legends."
      Square 8vo, cloth extra, 10_s._ 6_d._

  ~Pictures and Legends from Normandy and Brittany.~
      By KATHARINE S. MACQUOID. With numerous Illustrations by
      THOMAS R. MACQUOID. Square 8vo, cloth gilt, 10_s._ 6_d._

    "_Mr. and Mrs. Macquoid have been strolling in Normandy and
    Brittany, and the result of their observations and researches in
    that picturesque land of romantic associations is an attractive
    volume, which it neither a work of travel nor a collection of
    stories, but a book partaking almost in equal degree of each of
    these characters.... The illustrations, which are numerous, are
    drawn, as a rule, with remarkable delicacy as well at with true
    artistic feeling._"--DAILY NEWS.

  ~Through Normandy.~
      By KATHARINE S. MACQUOID. With 90 Illustrations by T. R.
      MACQUOID. Square 8vo, cloth extra, 7_s._ 6_d._

    "_One of the few books which can be read as a piece of literature,
    whilst at the same time handy in the knapsack._"--BRITISH QUARTERLY
    REVIEW.

  ~Through Brittany.~
      By KATHARINE S. MACQUOID. With numerous Illustrations by
      THOMAS R. MACQUOID. Square 8vo, cloth extra, 7_s._ 6_d._

    "_The pleasant companionship which Mrs. Macquoid offers, while
    wandering from one point of interest to another, seems to throw a
    renewed charm around each oft-depicted scene._"--MORNING POST.


Crown 8vo, cloth extra, with Illustrations, 2_s._ 6_d._

  ~Madre Natura v. The Moloch of Fashion.~
      By LUKE LIMNER. With 32 Illustrations by the Author. FOURTH
      EDITION, revised and enlarged.


Handsomely printed in facsimile, price 5_s._

  ~Magna Charta.~
      An exact Facsimile of the Original Document in the British
      Museum, printed on fine plate paper, nearly 3 feet long by 2
      feet wide, with the Arms and Seals emblazoned in Gold and
      Colours.


Small 8vo, 1_s._; cloth extra, 1_s._ 6_d._

  ~Milton's The Hygiene of the Skin.~
      A Concise Set of Rules for the Management of the Skin; with
      Directions for Diet, Wines, Soaps, Baths, &c. By J. L. MILTON,
      Senior Surgeon to St. John's Hospital.

_By the same Author._

  ~The Bath in Diseases of the Skin.~
      Sm. 8vo, 1_s._; cl. extra, 1_s._ 6_d._


~Mallock's (W. H.) Works:~

  ~Is Life Worth Living?~
      By WILLIAM HURRELL MALLOCK. New Edition, crown 8vo, cloth extra,
      6_s._

    "_This deeply interesting volume.... It is the most powerful
    vindication of religion, both natural and revealed, that has
    appeared since Bishop Butler wrote, and is much more useful than
    either the Analogy or the Sermons of that great divine, as a
    refutation of the peculiar form assumed by the infidelity of the
    present day.... Deeply philosophical as the book is, there is not a
    heavy page in it. The writer is 'possessed,' so to speak, with his
    great subject, has sounded its depths, surveyed it in all its
    extent, and brought to bear on it all the resources of a vivid,
    rich, and impassioned style, as well as an adequate acquaintance
    with the science, the philosophy, and the literature of the
    day._"--IRISH DAILY NEWS.

  ~The New Republic~;
      or, Culture, Faith, and Philosophy in an English Country House.
      By WILLIAM HURRELL MALLOCK. CHEAP EDITION, in the "Mayfair
      Library." Post 8vo, cloth limp, 2_s._ 6_d._

  ~The New Paul and Virginia~;
      or, Positivism on an Island. By WILLIAM HURRELL MALLOCK. CHEAP
      EDITION, in the "Mayfair Library." Post 8vo, cloth limp, 2_s._
      6_d._

  ~Poems.~
      By W. H. MALLOCK. Small 4to, bound in parchment, 8_s._

  ~Mark Twain's Works:~

  ~The Choice Works of Mark Twain.~
      Revised and Corrected throughout by the Author. With Life,
      Portrait, and numerous Illustrations. Crown 8vo, cloth extra,
      7_s._ 6_d._

  ~The Adventures of Tom Sawyer.~
      By MARK TWAIN. With 100 Illustrations. Small 8vo, cl. ex., 7_s._
      6_d._ CHEAP EDITION, illust. boards, 2_s._

  ~A Pleasure Trip on the Continent of Europe: The Innocents Abroad~,
      and The New Pilgrim's Progress. By MARK TWAIN. Post 8vo,
      illustrated boards, 2_s._

  ~An Idle Excursion, and other Sketches.~
      By MARK TWAIN. Post 8vo, illustrated boards, 2_s._

  ~A Tramp Abroad.~
      By MARK TWAIN. With 314 Illustrations. Crown 8vo, cloth extra,
      7_s._ 6_d._

    "_The fun and tenderness of the conception, of which no living
    man but Mark Twain is capable, its grace and fantasy and slyness,
    the wonderful feeling for animals that is manifest in every line,
    make of all this episode of Jim Baker and his jays a piece of work
    that is not only delightful as mere reading, but also of a high
    degree of merit as literature.... The book is full of good things,
    and contains passages and episodes that are equal to the funniest
    of those that have gone before._"--ATHENAEUM.


Post 8vo, cloth limp. 2_s._ 6_d._ per vol.

  ~Mayfair Library, The:~

  ~The New Republic.~
      By W. H. MALLOCK.

  ~The New Paul and Virginia.~
      By W. H. MALLOCK.

  ~The True History of Joshua Davidson.~
      By E. LYNN LINTON.

  ~Old Stories Re-told.~
      By WALTER THORNBURY.

  ~Thoreau: His Life and Aims.~
      By H. A. PAGE.

  ~By Stream and Sea.~
      By WILLIAM SENIOR.

  ~Jeux d'Esprit.~
      Edited by HENRY S. LEIGH.

  ~Puniana.~
      By the Hon. HUGH ROWLEY.

  ~More Puniana.~
      By the Hon. HUGH ROWLEY.

  ~Puck on Pegasus.~
      By H. CHOLMONDELEY-PENNELL.

  ~The Speeches of Charles Dickens.~
      With Chapters on Dickens as a Letter-Writer, Poet, and Public
      Reader.

  ~Muses of Mayfair.~
      Edited by H. CHOLMONDELEY-PENNELL.

  ~Gastronomy as a Fine Art.~
      By BRILLAT-SAVARIN.

  ~Original Plays.~
      By W. S. GILBERT.

  ~Carols of Cockayne.~
      By HENRY S. LEIGH.

  ~Literary Frivolities, Fancies, Follies, and Frolics.~
      By WILLIAM T. DOBSON.

  ~Pencil and Palette:~
      Biographical Anecdotes, chiefly of Contemporary Painters, with
      Gossip about Pictures Lost, Stolen, and Forged, also Great
      Picture Sales. By ROBERT KEMPT.

  ~The Agony Column of "The Times,"~
      from 1800 to 1870. Edited, with an Introduction, by ALICE
      CLAY.

    [_Nearly ready._

  ~The Book of Clerical Anecdotes:~
      A Gathering of the Antiquities, Humours, and Eccentricities of
      "The Cloth." By JACOB LARWOOD.

    [_Nearly ready._

[asterism] _Other Volumes are in preparation._


~New Novels.~

_OUIDA'S NEW WORK._

  ~A VILLAGE COMMUNE.~
      By OUIDA. Two Vols., crown 8vo, cloth extra.

    [_Just ready._

_JAMES PAYN'S NEW NOVEL._

  ~A CONFIDENTIAL AGENT.~
      By JAMES PAYN. With 12 Illustrations by ARTHUR HOPKINS. Three
      Vols., crown 8vo.

_NEW NOVEL BY JULIAN HAWTHORNE._

  ~ELLICE QUENTIN~,
      and other Stories. By JULIAN HAWTHORNE. Two Vols., crown 8vo.

_MR. FRANCILLON'S NEW NOVEL._

  ~QUEEN COPHETUA.~
      By R. E. FRANCILLON. Three Vols., crown 8vo.

_MRS. HUNT'S NEW NOVEL._

  ~THE LEADEN CASKET.~
      By Mrs. ALFRED W. HUNT. Three Vols., crown 8vo.

_NEW NOVEL BY MRS. LINTON._

  ~THE REBEL OF THE FAMILY.~
      By E. LYNN LINTON. Three Vols., crown 8vo.

_NEW NOVEL by the AUTHORS OF "READY-MONEY MORTIBOY."_

  ~THE TEN YEARS' TENANT~,
      and other Stories. By WALTER BESANT and JAMES RICK. Three Vols.,
      crown 8vo.

    [_Nearly ready._


Small 8vo, cloth limp, with Illustrations, 2_s._ 6_d._

  ~Miller's Physiology for the Young~;
      or, The House of Life: Human Physiology, with its Applications
      to the Preservation of Health. For use in Classes and Popular
      Reading. With numerous Illustrations. By Mrs. F. FENWICK MILLER.

    "_An admirable introduction to a subject which all who value
    health and enjoy life should have at their fingers' ends._"--ECHO.


Square 8vo, cloth extra, with numerous Illustrations, 9_s._

  ~North Italian Folk.~
      By Mrs. COMYNS CARR. Illustrated by RANDOLPH CALDECOTT.

    "_A delightful book, of a kind which is far too rare. If anyone
    wants to really know the North Italian folk, we can honestly
    advise him to omit the journey, and sit down to read Mrs. Carr's
    pages instead.... Description with Mrs. Carr is a real gift.... It
    is rarely that a book is so happily illustrated._"--CONTEMPORARY
    REVIEW.


Crown 8vo, cloth extra, with Vignette Portraits, price 6_s._ per Vol.

  ~Old Dramatists, The:~

  ~Ben Jonson's Works.~
      With Notes, Critical and Explanatory, and a Biographical Memoir
      by WILLIAM GIFFORD. Edited by Colonel CUNNINGHAM. Three Vols.

  ~Chapman's Works.~
      Now First Collected. Complete in Three Vols. Vol. I. contains
      the Plays complete, including the doubtful ones; Vol. II. the
      Poems and Minor Translations, with an Introductory Essay by
      ALGERNON CHARLES SWINBURNE. Vol. III. the Translations of the
      Iliad and Odyssey.

  ~Marlowe's Works.~
      Including his Translations. Edited, with Notes and Introduction,
      by Col. CUNNINGHAM. One Vol.

  ~Massinger's Plays.~
      From the Text of WILLIAM GIFFORD. With the addition of the
      Tragedy of "Believe as you List." Edited by Col. CUNNINGHAM. One
      Vol.


Crown 8vo, red cloth extra, 5_s._ each.

  ~Ouida's Novels.--Library Edition.~
  ~Held in Bondage.~        By OUIDA.
  ~Strathmore.~             By OUIDA.
  ~Chandos.~                By OUIDA.
  ~Under Two Flags.~        By OUIDA.
  ~Idalia.~                 By OUIDA.
  ~Cecil Castlemaine.~      By OUIDA.
  ~Tricotrin.~              By OUIDA.
  ~Puck.~                   By OUIDA.
  ~Folle Farine.~           By OUIDA.
  ~Dog of Flanders.~        By OUIDA.
  ~Pascarel.~               By OUIDA.
  ~Two Wooden Shoes.~       By OUIDA.
  ~Signa.~                  By OUIDA.
  ~In a Winter City.~       By OUIDA.
  ~Ariadne.~                By OUIDA.
  ~Friendship.~             By OUIDA.
  ~Moths.~                  By OUIDA.

[asterism] Also a Cheap Edition of all but the last, post 8vo,
illustrated boards, 2_s._ each.


Post 8vo, cloth limp, 1_s._ 6_d._

  ~Parliamentary Procedure, A Popular Handbook of.~
      By HENRY W. LUCY.


Crown 8vo, cloth extra, with Portrait and Illustrations, 7_s._ 6_d._

  ~Poe's Choice Prose and Poetical Works.~
      With BAUDELAIRE'S "Essay."


Crown 8vo, carefully printed on creamy paper, and tastefully bound
in cloth for the Library, price 3_s._ 6_d._ each.

  ~Piccadilly Novels, The.~


_Popular Stories by the Best Authors._

  ~READY-MONEY MORTIBOY.~ By W. BESANT and JAMES RICE.

  ~MY LITTLE GIRL.~ By W. BESANT and JAMES RICE.

  ~THE CASE OF MR. LUCRAFT.~ By W. BESANT and JAMES RICE.

  ~THIS SON OF VULCAN.~ By W. BESANT and JAMES RICE.

  ~WITH HARP AND CROWN.~ By W. BESANT and JAMES RICE.

  ~THE GOLDEN BUTTERFLY.~ By W. BESANT and JAMES RICE.
  With a Frontispiece by F. S. Walker.

  ~BY CELIA'S ARBOUR.~ By W. BESANT and JAMES RICE.

  ~THE MONKS OF THELEMA.~ By W. BESANT and JAMES RICE.

  ~'TWAS IN TRAFALGAR'S BAY.~ By W. BESANT & JAMES ICE.

  ~THE SEAMY SIDE.~ By WALTER BESANT and JAMES RICE.

  ~ANTONINA.~ By WILKIE COLLINS. Illustrated by Sir J.
  GILBERT and ALFRED CONCANEN.

  ~BASIL.~ By WILKIE COLLINS. Illustrated by Sir JOHN GILBERT and
  J. MAHONEY.

  ~HIDE AND SEEK.~ By WILKIE COLLINS. Illustrated by Sir JOHN GILBERT
  and J. MAHONEY.

  ~THE DEAD SECRET.~ By WILKIE COLLINS. Illustrated by Sir JOHN
  GILBERT and H. FURNISS.

  ~QUEEN OF HEARTS.~ By WILKIE COLLINS. Illustrated by Sir JOHN
  GILBERT and A. CONCANEN.

  ~MY MISCELLANIES.~ By WILKIE COLLINS. With Steel Portrait,
  and Illustrations by A. CONCANEN.

  ~THE WOMAN IN WHITE.~ By WILKIE COLLINS. Illustrated
  by Sir J. GILBERT and F. A. FRASER.

  ~THE MOONSTONE.~ By WILKIE COLLINS. Illustrated by G.
  DU MAURIER and F. A. FRASER.

  ~MAN AND WIFE.~ By WILKIE COLLINS. Illust. by WM.
  SMALL.

  ~POOR MISS FINCH.~ By WILKIE COLLINS. Illustrated by G.
  DU MAURIER and EDWARD HUGHES.

  ~MISS OR MRS.?~ By WILKIE COLLINS. Illustrated by S. L.
  FILDES and HENRY WOODS.

  ~THE NEW MAGDALEN.~ By WILKIE COLLINS. Illustrated by
  G. DU MAURIER and C. S. REINHART.

  ~THE FROZEN DEEP.~ By WILKIE COLLINS. Illustrated by G.
  DU MAURIER and J. MAHONEY.

  ~THE LAW AND THE LADY.~ By WILKIE COLLINS. Illustrated
  by S. L. FILDES and SYDNEY HALL.

  ~THE TWO DESTINIES.~ By WILKIE COLLINS.

  ~THE HAUNTED HOTEL.~ By WILKIE COLLINS. Illustrated by
  ARTHUR HOPKINS.

  ~THE FALLEN LEAVES.~ By WILKIE COLLINS.

  ~JEZEBEL'S DAUGHTER.~ By WILKIE COLLINS.

  ~DECEIVERS EVER.~ By Mrs. H. LOVETT CAMERON.

  ~JULIET'S GUARDIAN.~ By Mrs. H. LOVETT CAMERON.
  Illustrated by VALENTINE BROMLEY.

  ~FELICIA.~ By M. BETHAM-EDWARDS. Frontispiece by W.
  BOWLES.

  ~OLYMPIA.~ By R. E. FRANCILLON.

  ~GARTH.~ By JULIAN HAWTHORNE.

  ~ROBIN GRAY.~ By CHARLES GIBBON.

  ~FOR LACK OF GOLD.~ By CHARLES GIBBON.

  ~IN LOVE AND WAR.~ By CHARLES GIBBON.

  ~WHAT WILL THE WORLD SAY?~ By CHARLES GIBBON.

  ~FOR THE KING.~ By CHARLES GIBBON.

  ~IN HONOUR BOUND.~ By CHARLES GIBBON.

  ~QUEEN OF THE MEADOW.~ By CHARLES GIBBON. Illustrated
  by ARTHUR HOPKINS.

  ~UNDER THE GREENWOOD TREE.~ By THOMAS HARDY.

  ~THORNICROFT'S MODEL.~ By Mrs. A. W. HUNT.

  ~FATED TO BE FREE.~ By JEAN INGELOW.

  ~CONFIDENCE.~ By HENRY JAMES, Jun.

  ~THE QUEEN OF CONNAUGHT.~ By HARRIETT JAY.

  ~THE DARK COLLEEN.~ By HARRIETT JAY.

  ~NUMBER SEVENTEEN.~ By HENRY KINGSLEY.

  ~OAKSHOTT CASTLE.~ By HENRY KINGSLEY. With a Frontispiece
  by SHIRLEY HODSON.

  ~PATRICIA KEMBALL.~ By E. LYNN LINTON. With a Frontispiece
  by G. DU MAURIER.

  ~THE ATONEMENT OF LEAM DUNDAS.~ By E. LYNN LINTON. With
  a Frontispiece by HENRY WOODS.

  ~THE WORLD WELL LOST.~ By E. LYNN LINTON. Illustrated
  by J. LAWSON and HENRY FRENCH.

  ~UNDER WHICH LORD?~ By E. LYNN LINTON.

  ~WITH A SILKEN THREAD.~ By E. LYNN LINTON.

  ~THE WATERDALE NEIGHBOURS.~ By JUSTIN MCCARTHY.

  ~MY ENEMY'S DAUGHTER.~ By JUSTIN MCCARTHY.

  ~LINLEY ROCHFORD.~ By JUSTIN MCCARTHY.

  ~A FAIR SAXON.~ By JUSTIN MCCARTHY.

  ~DEAR LADY DISDAIN.~ By JUSTIN MCCARTHY.

  ~MISS MISANTHROPE.~ By JUSTIN MCCARTHY. Illustrated by ARTHUR
  HOPKINS.

  ~DONNA QUIXOTE.~ By JUSTIN MCCARTHY. Illustrated by ARTHUR
  HOPKINS.

  ~QUAKER COUSINS.~ By AGNES MACDONELL.

  ~LOST ROSE.~ By KATHARINE S. MACQUOID.

  ~THE EVIL EYE, and other Stories.~ By KATHARINE S. MACQUOID.
  Illustrated by THOMAS R. MACQUOID and PERCY MACQUOID.

  ~OPEN! SESAME!~ By FLORENCE MARRYAT. Illustrated by F. A. FRASER.

  ~TOUCH AND GO.~ By JEAN MIDDLEMASS.

  ~WHITELADIES.~ By Mrs. OLIPHANT. With Illustrations by A. HOPKINS
  and H. WOODS.

  ~THE BEST OF HUSBANDS.~ By JAMES PAYN. Illustrated by J. MOYR SMITH.

  ~FALLEN FORTUNES.~ By JAMES PAYN.

  ~HALVES.~ By JAMES PAYN. With a Frontispiece by J. MAHONEY.

  ~WALTER'S WORD.~ By JAMES PAYN. Illust. by J. MOYR SMITH.

  ~WHAT HE COST HER.~ By JAMES PAYN.

  ~LESS BLACK THAN WE'RE PAINTED.~ By JAMES PAYN.

  ~BY PROXY.~ By JAMES PAYN. Illustrated by ARTHUR HOPKINS.

  ~UNDER ONE ROOF.~ By JAMES PAYN.

  ~HIGH SPIRITS.~ By JAMES PAYN.

  ~HER MOTHER'S DARLING.~ By Mrs. J. H. RIDDELL.

  ~BOUND TO THE WHEEL.~ By JOHN SAUNDERS.

  ~GUY WATERMAN.~ By JOHN SAUNDERS.

  ~ONE AGAINST THE WORLD.~ By JOHN SAUNDERS.

  ~THE LION IN THE PATH.~ By JOHN SAUNDERS.

  ~THE WAY WE LIVE NOW.~ By ANTHONY TROLLOPE. Illust.

  ~THE AMERICAN SENATOR.~ By ANTHONY TROLLOPE.

  ~DIAMOND CUT DIAMOND.~ By T. A. TROLLOPE.


Post 8vo, illustrated boards, 2_s._ each.

~Popular Novels, Cheap Editions of.~

    [WILKIE COLLINS' NOVELS and BESANT and RICE'S NOVELS may also
    be had in cloth limp at 2_s._ 6_d._ _See, too, the_ PICCADILLY
    NOVELS, _for Library Editions_.]

  ~Maid, Wife, or Widow?~ By Mrs. ALEXANDER.

  ~Ready-Money Mortiboy.~ By WALTER BESANT and JAMES RICE.

  ~The Golden Butterfly.~ By Authors of "Ready-Money Mortiboy."

  ~This Son of Vulcan.~ By the same.

  ~My Little Girl.~ By the same.

  ~The Case of Mr. Lucraft.~ By Authors of "Ready-Money Mortiboy."

  ~With Harp and Crown.~ By Authors of "Ready-Money Mortiboy."

  ~The Monks of Thelema.~ By WALTER BESANT and JAMES RICE.

  ~By Celia's Arbour.~ By WALTER BESANT and JAMES RICE.

  ~'Twas in Trafalgar's Bay.~ By WALTER BESANT and JAMES RICE.

  ~Juliet's Guardian.~ By Mrs. H. LOVETT CAMERON.

  ~Surly Tim.~ By F. H. BURNETT.

  ~The Cure of Souls.~ By MACLAREN CORBAN.

  ~The Woman in White.~ By WILKIE COLLINS.

  ~Antonina.~ By WILKIE COLLINS.

  ~Basil.~ By WILKIE COLLINS.

  ~Hide and Seek.~ By the same.

  ~The Queen of Hearts.~ By WILKIE COLLINS.

  ~The Dead Secret.~ By the same.

  ~My Miscellanies.~ By the same.

  ~The Moonstone.~ By the same.

  ~Man and Wife.~ By the same.

  ~Poor Miss Finch.~ By the same.

  ~Miss or Mrs.?~ By the same.

  ~The New Magdalen.~ By the same.

  ~The Frozen Deep.~ By the same.

  ~The Law and the Lady.~ By WILKIE COLLINS.

  ~The Two Destinies.~ By WILKIE COLLINS.

  ~The Haunted Hotel.~ By WILKIE COLLINS.

  ~Roxy.~ By EDWARD EGGLESTON.

  ~Felicia.~ M. BETHAM-EDWARDS.

  ~Filthy Lucre.~ By ALBANY DE FONBLANQUE.

  ~Olympia.~ By R. E. FRANCILLON.

  ~Robin Gray.~ By CHAS. GIBBON.

  ~For Lack of Gold.~ By Charles Gibbon.

  ~What will the World Say?~ By Charles Gibbon.

  ~In Love and War.~ By CHARLES GIBBON.

  ~For the King.~ By CHARLES GIBBON.

  ~In Honour Bound.~ By CHAS. GIBBON.

  ~Dick Temple.~ By JAMES GREENWOOD.

  ~Under the Greenwood Tree.~ By THOMAS HARDY.

  ~An Heiress of Red Dog.~ By BRET HARTE.

  ~The Luck of Roaring Camp.~ By BRET HARTE.

  ~Gabriel Conroy.~ By BRET HARTE.

  ~Fated to be Free.~ By JEAN INGELOW.

  ~Confidence.~ By HENRY JAMES, Jun.

  ~The Queen of Connaught.~ By HARRIETT JAY.

  ~The Dark Colleen.~ By the same.

  ~Number Seventeen.~ By HENRY KINGSLEY.

  ~Oakshott Castle.~ By the same.

  ~Patricia Kemball.~ By E. LYNN LINTON.

  ~The Atonement of Leam Dundas.~ By E. LYNN LINTON.

  ~The World Well Lost.~ By E. LYNN LINTON.

  ~The Waterdale Neighbours.~ By JUSTIN MCCARTHY.

  ~My Enemy's Daughter.~ Do.

  ~Linley Rochford.~ By the same.

  ~A Fair Saxon.~ By the same.

  ~Dear Lady Disdain.~ By the same.

  ~Miss Misanthrope.~ By JUSTIN MCCARTHY.

  ~Lost Rose.~ By KATHARINE S. MACQUOID.

  ~The Evil Eye.~ By the same.

  ~Open! Sesame!~ By FLORENCE MARRYAT.

  ~Whiteladies.~ By Mrs. OLIPHANT.

  ~Held in Bondage.~ By OUIDA.

  ~Strathmore.~ By OUIDA.

  ~Chandos.~ By OUIDA.

  ~Under Two Flags.~ By OUIDA.

  ~Idalia.~ By OUIDA.

  ~Cecil Castlemaine.~ By Ouida.

  ~Tricotrin.~ By OUIDA.

  ~Puck.~ By OUIDA.

  ~Folle Farine.~ By OUIDA.

  ~Dog of Flanders.~ By OUIDA.

  ~Pascarel.~ By OUIDA.

  ~Two Little Wooden Shoes.~ By OUIDA.

  ~Signa.~ By OUIDA.

  ~In a Winter City.~ By OUIDA.

  ~Ariadne.~ By OUIDA.

  ~Friendship.~ By OUIDA.

  ~Fallen Fortunes.~ By J. PAYN.

  ~Halves.~ By JAMES PAYN.

  ~What He Cost Her.~ By ditto.

  ~By Proxy.~ By JAMES PAYN.

  ~Less Black than We're Painted.~ By JAMES PAYN.

  ~The Best of Husbands.~ Do.

  ~Walter's Word.~ By J. PAYN.

  ~The Mystery of Marie Roget.~ By EDGAR A. POE.

  ~Her Mother's Darling.~ By Mrs. J. H. RIDDELL.

  ~Gaslight and Daylight.~ By GEORGE AUGUSTUS SALA.

  ~Bound to the Wheel.~ By JOHN SAUNDERS.

  ~Guy Waterman.~ By J. SAUNDERS.

  ~One Against the World.~ By JOHN SAUNDERS.

  ~The Lion in the Path.~ By JOHN and KATHERINE SAUNDERS.

  ~Tales for the Marines.~ By WALTER THORNBURY.

  ~The Way we Live Now.~ By ANTHONY TROLLOPE.

  ~The American Senator.~ By ANTHONY TROLLOPE.

  ~Diamond Cut Diamond.~ By T. A. TROLLOPE.

  ~An Idle Excursion.~ By MARK TWAIN.

  ~Adventures of Tom Sawyer.~ By MARK TWAIN.

  ~A Pleasure Trip on the Continent of Europe.~ By MARK TWAIN.


Fcap. 8vo, picture covers, 1_s._ each.

  ~Jeff Briggs's Love Story.~ By BRET HARTE.

  ~The Twins of Table Mountain.~ By BRET HARTE.

  ~Mrs. Gainsborough's Diamonds.~ By JULIAN HAWTHORNE.

  ~Kathleen Mavourneen.~ By the Author of "That Lass o' Lowrie's."

  ~Lindsay's Luck.~ By the Author of "That Lass o' Lowrie's."

  ~Pretty Polly Pemberton.~ By Author of "That Lass o' Lowrie's."

  ~Trooping with Crows.~ By Mrs. PIRKIS.


Crown 8vo, cloth extra, 6_s._

  ~Planche.--Songs and Poems, from 1819 to 1879.~
       By J. R. PLANCHE. Edited, with an Introduction, by his
       Daughter, Mrs. MACKARNESS.


Two Vols. 8vo, cloth extra, with Illustrations, 10_s._ 6_d._

  ~Plutarch's Lives of Illustrious Men.~
      Translated from the Greek, with Notes, Critical and Historical,
      and a Life of Plutarch, by JOHN and WILLIAM LANGHORNE. New
      Edition, with Medallion Portraits.


Crown 8vo, cloth extra, 7_s._ 6_d._

  ~Primitive Manners and Customs.~
      By JAMES A. FARRER.

    "_A book which it really both instructive and amusing, and which
    will open a new field of thought to many readers._"--ATHENAEUM.

    "_An admirable example of the application of the scientific
    method and the working of the truly scientific spirit._"--SATURDAY
    REVIEW.


Small 8vo, cloth extra, with Illustrations, 3_s._ 6_d._

  ~Prince of Argolis, The:~
      A Story of the Old Greek Fairy Time. By J. MOYR SMITH. With 130
      Illustrations by the Author.

  ~Proctor's (R. A.) Works:~

  ~Easy Star Lessons for Young Learners.~
      With Star Maps for Every Night in the Year, Drawings of the
      Constellations, &c. By RICHARD A. PROCTOR. Crown 8vo, cloth
      extra, 6_s._

    [_In preparation._

  ~Myths and Marvels of Astronomy.~
      By RICH. A. PROCTOR, Author of "Other Worlds than Ours," &c.
      Crown 8vo, cloth extra, 6_s._

  ~Pleasant Ways in Science.~
      By RICHARD A. PROCTOR. Crown 8vo, cloth extra, 6_s._

  ~Rough Ways made Smooth:~
      A Series of Familiar Essays on Scientific Subjects. By R. A.
      PROCTOR. Crown 8vo, cloth extra, 6_s._

  ~Our Place among Infinities:~
      A Series of Essays contrasting our Little Abode in Space and
      Time with the Infinities Around us. By RICHARD A. PROCTOR. Crown
      8vo, cloth extra, 6_s._

  ~The Expanse of Heaven:~
      A Series of Essays on the Wonders of the Firmament. By RICHARD
      A. PROCTOR. Crown 8vo, cloth, 6_s._

  ~Wages and Wants of Science Workers.~
      By RICHARD A. PROCTOR. Crown 8vo, 1_s._ 6_d._

    "_Mr. Proctor, of all writers of our time, best conforms to
    Matthew Arnold's conception of a man of culture, in that he
    strives to humanise knowledge and divest it of whatever is harsh,
    crude, or technical, and so makes it a source of happiness and
    brightness for all._"--WESTMINSTER REVIEW.


Crown 8vo, cloth extra, gilt, 7_s._ 6_d._

  ~Pursuivant of Arms, The~;
      or, Heraldry founded upon Facts. A Popular Guide to the Science
      of Heraldry. By J. R. PLANCHE, Somerset Herald. With Coloured
      Frontispiece, Plates, and 200 Illustrations.


Crown 8vo, cloth extra, with Illustrations, 7_s._ 6_d._

  ~Rabelais' Works.~
      Faithfully Translated from the French, with variorum Notes, and
      numerous characteristic Illustrations by GUSTAVE DORE.

    "_His buffoonery was not merely Brutus's rough skin, which
    contained a rod of gold: it was necessary as an amulet against the
    monks and legates; and he must be classed with the greatest
    creative minds in the world--with Shakespeare, with Dante, and
    with Cervantes._"--S. T. COLERIDGE.


Crown 8vo, cloth gilt, with numerous Illustrations, and a beautifully
executed Chart of the various Spectra, 7_s._ 6_d._

  ~Rambosson's Astronomy.~
      By J. RAMBOSSON, Laureate of the Institute of France. Translated
      by C. B. PITMAN. Profusely Illustrated.


Crown 8vo, cloth extra, 6_s._

  ~Richardson's (Dr.) A Ministry of Health~,
      and other Papers. By BENJAMIN WARD RICHARDSON, M.D., &c.

    "_This highly interesting volume contains upwards of nine
    addresses, written in the author's well-known style, and full of
    great and good thoughts.... The work is, like all those of the
    author, that of a man of genius, of great power, of experience,
    and noble independence of thought._"--POPULAR SCIENCE REVIEW.


Square 8vo, cloth extra, gilt, 10_s._ 6_d._

  ~Rimmer's Our Old Country Towns.~
      With over 50 Illustrations. By ALFRED RIMMER.

    [_Nearly ready._


Handsomely printed, price 5_s._

  ~Roll of Battle Abbey, The~;
      or, A List of the Principal Warriors who came over from Normandy
      with William the Conqueror, and Settled in this Country, A.D.
      1066-7. Printed on fine plate paper, nearly three feet by two,
      with the principal Arms emblazoned in Gold and Colours.


Two Vols., large 4to, profusely Illustrated, half-morocco, L2 16_s._

  ~Rowlandson, the Caricaturist.~
      A Selection from his Works, with Anecdotal Descriptions of his
      Famous Caricatures, and a Sketch of his Life, Times, and
      Contemporaries. With nearly 400 Illustrations, mostly in
      Facsimile of the Originals. By JOSEPH GREGO, Author of
      "James Gillray, the Caricaturist; his Life, Works, and Times."

    "_Mr. Grego's excellent account of the works of Thomas Rowlandson
    ... illustrated with some 400 spirited, accurate, and clever
    transcripts from his designs.... The thanks of all who care for
    what is original and personal in art are due to Mr. Grego for
    the pains he has been at, and the time he has expended, in the
    preparation of this very pleasant, very careful, and adequate
    memorial._"--PALL MALL GAZETTE.


Crown 8vo, cloth extra, profusely Illustrated, 4_s._ 6_d._ each.

  ~"Secret Out" Series, The.~

  ~The Pyrotechnist's Treasury~;
      or, Complete Art of Making Fireworks. By THOMAS KENTISH.
      With numerous Illustrations.

  ~The Art of Amusing:~
      A Collection of Graceful Arts, Games, Tricks, Puzzles, and
      Charades. By FRANK BELLEW. 300 Illustrations.

  ~Hanky-Panky:~
      Very Easy Tricks, Very Difficult Tricks, White Magic, Sleight
      of Hand. Edited by W. H. CREMER. 200 Illustrations.

  ~The Merry Circle:~
      A Book of New Intellectual Games and Amusements. By CLARA
      BELLEW. Many Illustrations.

  ~Magician's Own Book:~
      Performances with Cups and Balls, Eggs, Hats, Handkerchiefs,
      &c. All from Actual Experience. Edited by W. H. CREMER. 200
      Illustrations.

  ~Magic No Mystery:~
      Tricks with Cards, Dice, Balls, &c., with fully descriptive
      Directions; the Art of Secret Writing; Training of Performing
      Animals, &c. Coloured Frontispiece and many Illustrations.

  ~The Secret Out:~
      One Thousand Tricks with Cards, and other Recreations; with
      Entertaining Experiments in Drawing-room or "White Magic." By
      W. H. CREMER. 200 Engravings.


Crown 8vo, cloth extra, 6_s._

  ~Senior's Travel and Trout in the Antipodes.~
      An Angler's Sketches in Tasmania and New Zealand. By WILLIAM
      SENIOR ("Red Spinner"), Author of "Stream and Sea."

    "_In every way a happy production.... What Turner effected in
    colour on canvas, Mr. Senior may be said to effect by the force of
    a practical mind, in language that is magnificently descriptive,
    on his subject. There is in both painter and writer the same
    magical combination of idealism and realism, and the same hearty
    appreciation for all that is sublime and pathetic in natural
    scenery. That there is an undue share of travel to the number of
    trout caught is certainly not Mr. Senior's fault; but the
    comparative scarcity of the prince of fishes is adequately atoned
    for, in that the writer was led pretty well through all the
    glorious scenery of the antipodes in quest of him.... So great is
    the charm and the freshness and the ability of the book, that it
    is hard to put it down when once taken up._"--HOME NEWS.


  ~Shakespeare:~

  ~Shakespeare, The First Folio.~
      Mr. WILLIAM SHAKESPEARE'S Comedies, Histories, and Tragedies.
      Published according to the true Original Copies. London, Printed
      by ISAAC IAGGARD and ED. BLOUNT, 1623.--A Reproduction of the
      extremely rare original, in reduced facsimile by a photographic
      process--ensuring the strictest accuracy in every detail. Small
      8vo, half-Roxburghe, 10_s._ 6_d._

    "_To Messrs. Chatto and Windus belongs the merit of having done
    more to facilitate the critical study of the text of our great
    dramatist than all the Shakespeare clubs and societies put
    together. A complete facsimile of the celebrated First Folio
    edition of 1623 for half-a-guinea is at once a miracle of cheapness
    and enterprise. Being in a reduced form, the type is necessarily
    rather diminutive, but it is as distinct as in a genuine copy of
    the original, and will be found to be as useful and far more handy
    to the student than the latter._"--ATHENAEUM.

  ~Shakespeare, The Lansdowne.~
      Beautifully printed in red and black, in small but very clear
      type. With engraved facsimile of DROESHOUT'S Portrait. Post 8vo,
      cloth extra, 7_s._ 6_d._

  ~Shakespeare for Children: Tales from Shakespeare.~
      By CHARLES and MARY LAMB. With numerous Illustrations, coloured
      and plain, by J. MOYR SMITH. Crown 4to, cloth gilt, 10_s._ 6_d._

  ~Shakespeare Music, The Handbook of.~
      Being an Account of Three Hundred and Fifty Pieces of Music, set
      to Words taken from the Plays and Poems of Shakespeare, the
      compositions ranging from the Elizabethan Age to the Present
      Time. By ALFRED ROFFE. 4to, half-Roxburghe, 7_s._

  ~Shakespeare, A Study of.~
      By ALGERNON CHARLES SWINBURNE. Crown 8vo, cloth extra, 8_s._


Crown 8vo, cloth extra, gilt, with 10 full-page Tinted Illustrations,
7_s._ 6_d._

  ~Sheridan's Complete Works~,
      with Life and Anecdotes. Including his Dramatic Writings, printed
      from the Original Editions, his Works in Prose and Poetry,
      Translations, Speeches, Jokes, Puns, &c.; with a Collection of
      Sheridaniana.


Crown 8vo, cloth extra, with Illustrations, 7_s._ 6_d._

  ~Signboards:~
      Their History. With Anecdotes of Famous Taverns and Remarkable
      Characters. By JACOB LARWOOD and JOHN CAMDEN HOTTEN. With nearly
      100 Illustrations.

    "_Even if we were ever so maliciously inclined, we would not pick
    out all Messrs. Larwood and Hotten's plums, because the good things
    are so numerous as to defy the most wholesale
    depredation._"--TIMES.


Crown 8vo. cloth extra, gilt, 6_s._ 6_d._

  ~Slang Dictionary, The:~
      Etymological, Historical, and Anecdotal. An ENTIRELY NEW
      EDITION, revised throughout, and considerably Enlarged.

    "_We are glad to see the Slang Dictionary reprinted and enlarged.
    From a high scientific point of view this book it not to be
    despised. Of course it cannot fail to be amusing also. It contains
    the very vocabulary of unrestrained humour, and oddity, and
    grotesqueness. In a word, it provides valuable material both for
    the student of language and the student of human
    nature._"--ACADEMY.


Exquisitely printed in miniature, cloth extra, gilt edges, 2_s._
6_d._

  ~Smoker's Text-Book, The.~
      By J. HAMER, F.R.S.L.


Crown 8vo, cloth extra, 5_s._

  ~Spalding's Elizabethan Demonology:~
      An Essay in Illustration of the Belief in the Existence of
      Devils, and the Powers possessed by them, with Special Reference
      to Shakspere and his Works. By T. ALFRED SPALDING, LL.B.

    "_A very thoughtful and weighty book, which cannot but be welcome
    to every earnest student._"--ACADEMY.


Crown 4to, uniform with "Chaucer for Children," with Coloured
Illustrations, cloth gilt, 10_s._ 6_d._

  ~Spenser for Children.~
      By M. H. TOWRY. With Illustrations in Colours by WALTER J.
      MORGAN.

    "_Spenser has simply been transferred into plain prose, with here
    and there a line or stanza quoted, where the meaning and the
    diction are within a child's comprehension, and additional point
    is thus given to the narrative without the cost of obscurity....
    Altogether the work has been well and carefully done._"--THE
    TIMES.


Post 8vo, cloth extra, 5_s._

  ~Stories about Number Nip~,
      The Spirit of the Giant Mountains. Retold for children, by
      WALTER GRAHAME. With Illustrations by J. MOYR SMITH.


Demy 8vo, cloth extra, Illustrated, 21_s._

  ~Sword, The Book of the:~
      Being a History of the Sword, and its Use, in all Times and
      in all Countries. By Captain RICHARD BURTON. With numerous
      Illustrations.

    [_In preparation._


Crown 8vo, cloth extra, 9_s._

  ~Stedman's Victorian Poets:~
      Critical Essays. By EDMUND CLARENCE STEDMAN.

    "_We ought to be thankful to those who do critical work with
    competent skill and understanding. Mr. Stedman deserves the
    thanks of English scholars; ... he is faithful, studious, and
    discerning._"--SATURDAY REVIEW.


Crown 8vo, cloth extra, with Illustrations, 7_s._ 6_d._

  ~Strutt's Sports and Pastimes of the People of England~;
      including the Rural and Domestic Recreations, May Games,
      Mummeries, Shows, Processions, Pageants, and Pompous Spectacles,
      from the Earliest Period to the Present Time. With 140
      Illustrations. Edited by WILLIAM HONE.


Crown 8vo, cloth extra, with Illustrations, 7_s._ 6_d._

  ~Swift's Choice Works~,
      In Prose and Verse. With Memoir, Portrait, and Facsimiles of
      the Maps in the Original Edition of "Gulliver's Travels."


  ~Swinburne's Works:~

  ~The Queen Mother and Rosamond.~
      Fcap. 8vo, 5_s._

  ~Atalanta in Calydon.~
      A New Edition. Crown 8vo, 6_s._

  ~Chastelard.~
      A Tragedy. Crown 8vo, 7_s._

  ~Poems and Ballads.~
      FIRST SERIES. Fcap. 8vo, 9_s._ Also in crown 8vo,
      at same price.

  ~Poems and Ballads.~
      SECOND SERIES. Fcap, 8vo, 9_s._ Also in crown 8vo,
      at same price.

  ~Notes on "Poems and Ballads."~
      8vo, 1_s._

  ~William Blake:~
      A Critical Essay. With Facsimile Paintings. Demy 8vo, 16_s._

  ~Songs before Sunrise.~
      Crown 8vo, 10_s._ 6_d._

  ~Bothwell:~
      A Tragedy. Crown 8vo, 12_s._ 6_d._

  ~George Chapman:~
      An Essay. Crown 8vo, 7_s._

  ~Songs of Two Nations.~
      Crown 8vo, 6_s._

  ~Essays and Studies.~
      Crown 8vo, 12_s._

  ~Erechtheus:~
      A Tragedy. Crown 8vo, 6_s._

  ~Note of an English Republican on the Muscovite Crusade.~
      8vo, 1_s._

  ~A Note on Charlotte Bronte.~
      Crown 8vo, 6_s._

  ~A Study of Shakespeare.~
      Crown 8vo, 8_s._

  ~Songs of the Spring-Tides.~
      Cr. 8vo, cloth extra, 6_s._

_NEW VOLUME OF POEMS BY MR. SWINBURNE._

Crown 8vo, cloth extra, 7_s._

  ~Studies in Song.~ By ALGERNON CHARLES SWINBURNE.
      _Contents_:--Song for the Centenary of Walter Savage
      Landor--Off Shore--After Nine Years--For a Portrait of Felice
      Orsini--Evening on the Broads--The Emperor's Progress--The
      Resurrection of Alcilia--The Fourteenth of July--A Parting
      Song--By the North Sea.--&c.


Medium 8vo, cloth extra, with Illustrations, 7_s._ 6_d._

  ~Syntax's (Dr.) Three Tours~,
      in Search of the Picturesque, in Search of Consolation, and
      in Search of a Wife. With the whole of ROWLANDSON'S droll
      page Illustrations, in Colours, and Life of the Author by J.
      C. HOTTEN.


Four Vols. small 8vo, cloth boards, 30_s._

  ~Taine's History of English Literature.~
      Translated by HENRY VAN LAUN.

[asterism] Also a POPULAR EDITION, in Two Vols. crown 8vo, cloth
extra, 15_s._


Crown 8vo. cloth gilt, profusely Illustrated, 6_s._

  ~Tales of Old Thule.~
      Collected and Illustrated by J. MOYR SMITH.

    "_It is not often that we meet with a volume of fairy tales
    possessing more fully the double recommendation of absorbing
    interest and purity of tone than does the one before us containing
    a collection of 'Tales of Old Thule.' These come, to say the least,
    near fulfilling the idea of perfect works of the kind; and the
    illustrations with which the volume is embellished are equally
    excellent.... We commend the book to parents and teachers as an
    admirable gift to their children and pupils._"--LITERARY WORLD.


One Vol. crown 8vo, cloth extra, 7_s._ 6_d._

  ~Taylor's (Tom) Historical Dramas:~
      "Clancarty," "Jeanne Dare," "Twixt Axe and Crown," "The Fool's
      Revenge." "Arkwright's Wife," "Anne Boleyn," "Plot and Passion."

[asterism] The Plays may also be had separately, at 1_s._ each.


Crown 8vo, cloth extra, with Coloured Frontispiece and numerous
Illustrations, 7_s._ 6_d._

  ~Thackerayana:~
      Notes and Anecdotes. Illustrated by a profusion of Sketches by
      WILLIAM MAKEPEACE THACKERAY, depicting Humorous Incidents in
      his School-life, and Favourite Characters in the books of his
      everyday reading. With Hundreds of Wood Engravings, facsimiled
      from Mr. Thackeray's Original Drawings.

    "_It would have been a real loss to bibliographical literature
    had copyright difficulties deprived the general public of this very
    amusing collection. One of Thackeray's habits, from his schoolboy
    days, was to ornament the margins and blank pages of the books he
    had in use with caricature illustrations of their contents. This
    gave special value to the sale of his library, and is almost cause
    for regret that it could not have been preserved in its integrity.
    Thackeray's place in literature is eminent enough to have made this
    an interest to future generations. The anonymous editor has done
    the best that he could to compensate for the lack of this. It is an
    admirable addendum, not only to his collected works, but alto to
    any memoir of him that has been, or that is likely to be,
    written._"--BRITISH QUARTERLY REVIEW.


Crown 8vo, cloth extra, with numerous Illustrations, 7_s._ 6_d._

  ~Thornbury's (Walter) Haunted London.~
      A New Edition, edited by EDWARD WALFORD, M.A.. with numerous
      Illustrations by F. W. FAIRHOLT, F.S.A.

    "_Mr. Thornbury knew and loved his London.... He had read much
    history, and every by-lane and every court had associations for
    him. His memory and his note-books were stored with anecdote, and,
    as he had singular skill in the matter of narration, it will be
    readily believed that when he took to writing a set book about the
    places he knew and cared for, the said book would be charming.
    Charming the volume before us certainly is. It may be begun in the
    beginning, or middle, or end, it is all one: wherever one lights,
    there is some pleasant and curious bit of gossip, some amusing
    fragment of allusion or quotation._"--VANITY FAIR.


Crown 8vo, cloth extra, gilt edges, with Illustrations, 7_s._ 6_d._

  ~Thomson's Seasons and Castle of Indolence.~
      With a Biographical and Critical Introduction by ALLAN
      CUNNINGHAM, and over 50 fine Illustrations on Steel and
      Wood.


Crown 8vo, cloth extra, with Illustrations, 7_s._ 6_d._

  ~Timbs' Clubs and Club Life in London.~
      With Anecdotes of its famous Coffee-houses, Hostelries, and
      Taverns. By JOHN TIMBS, F.S.A. With numerous Illustrations.


Crown 8vo, cloth extra, with Illustrations, 7_s._ 6_d._

  ~Timbs' English Eccentrics and Eccentricities:~
      Stories of Wealth and Fashion, Delusions, Impostures, and
      Fanatic Missions, Strange Sights and Sporting Scenes, Eccentric
      Artists, Theatrical Folks, Men of Letters, &c. By JOHN TIMBS,
      F.S.A. With nearly 50 Illustrations.


Demy 8vo, cloth extra, 14_s._

  ~Torrens' The Marquess Wellesley~,
      Architect of Empire. An Historic Portrait. _Forming Vol. I.
      of_ PRO-CONSUL and TRIBUNE: WELLESLEY and O'CONNELL: Historic
      Portraits. By W. M. TORRENS, M.P. In Two Vols.


Crown 8vo, cloth extra, with Coloured Illustrations, 7_s._ 6_d._

  ~Turner's (J. M. W.) Life and Correspondence:~
      Founded upon Letters and Papers furnished by his Friends and
      fellow-Academicians. By WALTER THORNBURY. A New Edition,
      considerably Enlarged. With numerous Illustrations in Colours,
      facsimiled from Turner's original Drawings.


Two Vols., crown 8vo, cloth extra, with Map and Ground-Plans, 14_s._

  ~Walcott's Church Work and Life in English Minsters~;
      and the English Student's Monasticon. By the Rev. MACKENZIE
      E. C. WALCOTT, B.D.


Large crown 8vo, cloth antique, with Illustrations, 7_s._ 6_d._

  ~Walton and Cotton's Complete Angler~;
      or, The Contemplative Man's Recreation: being a Discourse of
      Rivers, Fishponds, Fish and Fishing, written by IZAAK WALTON;
      and Instructions how to Angle for a Trout or Grayling in a clear
      Stream, by CHARLES COTTON. With Original Memoirs and Notes by
      Sir HARRIS NICOLAS, and 61 Copperplate Illustrations.


Carefully printed on paper to imitate the Original, 22 in. by 14 in.,
2_s._

  ~Warrant to Execute Charles I.~
      An exact Facsimile of this important Document, with the
      Fifty-nine Signatures of the Regicides, and corresponding Seals.


The Twenty-first Annual Edition, for 1881, cloth, full gilt, 50_s._

  ~Walford's County Families of the United Kingdom.~
      A Royal Manual of the Titled and Untitled Aristocracy of Great
      Britain and Ireland. By EDWARD WALFORD, M. A., late Scholar of
      Balliol College, Oxford. Containing Notices of the Descent,
      Birth, Marriage, Education, &c., of more than 12,000
      distinguished Heads of Families in the United Kingdom, their
      Heirs Apparent or Presumptive, together with a Record of the
      Patronage at their disposal, the Offices which they hold or have
      held, their Town Addresses, Country Residences, Clubs, &c.

    [_Nearly ready._


Beautifully printed on paper to imitate the Original MS., price 2_s._

  ~Warrant to Execute Mary Queen of Scots.~
      An exact Facsimile, including the Signature of Queen Elizabeth,
      and a Facsimile of the Great Seal.


Crown 8vo, cloth limp, with numerous Illustrations, 4_s._ 6_d._

  ~Westropp's Handbook of Pottery and Porcelain~;
      or, History of those Arts from the Earliest Period. By HODDER
      M. WESTROPP, Author of "Handbook of Archaeology," &c. With
      numerous beautiful Illustrations, and a List of Marks.


SEVENTH EDITION. Square 8vo, 1_s._

  ~Whistler v. Ruskin: Art and Art Critics.~
      By J. A. MACNEILL WHISTLER.


Crown 8vo, cloth limp, with Illustrations, 2_s._ 6_d._

  ~Williams' A Simple Treatise on Heat.~
      By W. MATTIEU WILLIAMS, F.R.A.S., F.C.S., Author of "The Fuel
      of the Sun," &c.


_A HANDSOME GIFT-BOOK._--Small 8vo. cloth extra, 6_s._

  ~Wooing (The) of the Water Witch:~
      A Northern Oddity. By EVAN DALDORNE. With One Hundred and
      Twenty-five fine Illustrations by J. MOYR SMITH.


Crown 8vo, cloth extra, with Illustrations, 7_s._ 6_d._

  ~Wright's Caricature History of the Georges.~
      (The House of Hanover.) With 400 Pictures. Caricatures, Squibs,
      Broadsides, Window Pictures, &c. By THOMAS WRIGHT, M.A., F.S.A.


Large post 8vo, cloth extra, gilt, with Illustrations, 7_s._ 6_d._

  ~Wright's History of Caricature and of the Grotesque in Art,
  Literature, Sculpture, and Painting~,
      from the Earliest Times to the Present Day. By THOMAS WRIGHT,
      M.A., F.S.A. Profusely Illustrated by F. W. FAIRHOLT, F.S.A.


    J. OGDEN AND CO., PRINTERS, 172, ST. JOHN STREET, E.C.






End of Project Gutenberg's The Evolutionist at Large, by Grant Allen

*** END OF THIS PROJECT GUTENBERG EBOOK THE EVOLUTIONIST AT LARGE ***

***** This file should be named 44820.txt or 44820.zip *****
This and all associated files of various formats will be found in:
        http://www.gutenberg.org/4/4/8/2/44820/

Produced by Dianna Adair and the Online Distributed
Proofreading Team at http://www.pgdp.net (This file was
produced from images generously made available by The
Internet Archive)


Updated editions will replace the previous one--the old editions
will be renamed.

Creating the works from public domain print editions means that no
one owns a United States copyright in these works, so the Foundation
(and you!) can copy and distribute it in the United States without
permission and without paying copyright royalties.  Special rules,
set forth in the General Terms of Use part of this license, apply to
copying and distributing Project Gutenberg-tm electronic works to
protect the PROJECT GUTENBERG-tm concept and trademark.  Project
Gutenberg is a registered trademark, and may not be used if you
charge for the eBooks, unless you receive specific permission.  If you
do not charge anything for copies of this eBook, complying with the
rules is very easy.  You may use this eBook for nearly any purpose
such as creation of derivative works, reports, performances and
research.  They may be modified and printed and given away--you may do
practically ANYTHING with public domain eBooks.  Redistribution is
subject to the trademark license, especially commercial
redistribution.



*** START: FULL LICENSE ***

THE FULL PROJECT GUTENBERG LICENSE
PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK

To protect the Project Gutenberg-tm mission of promoting the free
distribution of electronic works, by using or distributing this work
(or any other work associated in any way with the phrase "Project
Gutenberg"), you agree to comply with all the terms of the Full Project
Gutenberg-tm License available with this file or online at
  www.gutenberg.org/license.


Section 1.  General Terms of Use and Redistributing Project Gutenberg-tm
electronic works

1.A.  By reading or using any part of this Project Gutenberg-tm
electronic work, you indicate that you have read, understand, agree to
and accept all the terms of this license and intellectual property
(trademark/copyright) agreement.  If you do not agree to abide by all
the terms of this agreement, you must cease using and return or destroy
all copies of Project Gutenberg-tm electronic works in your possession.
If you paid a fee for obtaining a copy of or access to a Project
Gutenberg-tm electronic work and you do not agree to be bound by the
terms of this agreement, you may obtain a refund from the person or
entity to whom you paid the fee as set forth in paragraph 1.E.8.

1.B.  "Project Gutenberg" is a registered trademark.  It may only be
used on or associated in any way with an electronic work by people who
agree to be bound by the terms of this agreement.  There are a few
things that you can do with most Project Gutenberg-tm electronic works
even without complying with the full terms of this agreement.  See
paragraph 1.C below.  There are a lot of things you can do with Project
Gutenberg-tm electronic works if you follow the terms of this agreement
and help preserve free future access to Project Gutenberg-tm electronic
works.  See paragraph 1.E below.

1.C.  The Project Gutenberg Literary Archive Foundation ("the Foundation"
or PGLAF), owns a compilation copyright in the collection of Project
Gutenberg-tm electronic works.  Nearly all the individual works in the
collection are in the public domain in the United States.  If an
individual work is in the public domain in the United States and you are
located in the United States, we do not claim a right to prevent you from
copying, distributing, performing, displaying or creating derivative
works based on the work as long as all references to Project Gutenberg
are removed.  Of course, we hope that you will support the Project
Gutenberg-tm mission of promoting free access to electronic works by
freely sharing Project Gutenberg-tm works in compliance with the terms of
this agreement for keeping the Project Gutenberg-tm name associated with
the work.  You can easily comply with the terms of this agreement by
keeping this work in the same format with its attached full Project
Gutenberg-tm License when you share it without charge with others.

1.D.  The copyright laws of the place where you are located also govern
what you can do with this work.  Copyright laws in most countries are in
a constant state of change.  If you are outside the United States, check
the laws of your country in addition to the terms of this agreement
before downloading, copying, displaying, performing, distributing or
creating derivative works based on this work or any other Project
Gutenberg-tm work.  The Foundation makes no representations concerning
the copyright status of any work in any country outside the United
States.

1.E.  Unless you have removed all references to Project Gutenberg:

1.E.1.  The following sentence, with active links to, or other immediate
access to, the full Project Gutenberg-tm License must appear prominently
whenever any copy of a Project Gutenberg-tm work (any work on which the
phrase "Project Gutenberg" appears, or with which the phrase "Project
Gutenberg" is associated) is accessed, displayed, performed, viewed,
copied or distributed:

This eBook is for the use of anyone anywhere at no cost and with
almost no restrictions whatsoever.  You may copy it, give it away or
re-use it under the terms of the Project Gutenberg License included
with this eBook or online at www.gutenberg.org

1.E.2.  If an individual Project Gutenberg-tm electronic work is derived
from the public domain (does not contain a notice indicating that it is
posted with permission of the copyright holder), the work can be copied
and distributed to anyone in the United States without paying any fees
or charges.  If you are redistributing or providing access to a work
with the phrase "Project Gutenberg" associated with or appearing on the
work, you must comply either with the requirements of paragraphs 1.E.1
through 1.E.7 or obtain permission for the use of the work and the
Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
1.E.9.

1.E.3.  If an individual Project Gutenberg-tm electronic work is posted
with the permission of the copyright holder, your use and distribution
must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
terms imposed by the copyright holder.  Additional terms will be linked
to the Project Gutenberg-tm License for all works posted with the
permission of the copyright holder found at the beginning of this work.

1.E.4.  Do not unlink or detach or remove the full Project Gutenberg-tm
License terms from this work, or any files containing a part of this
work or any other work associated with Project Gutenberg-tm.

1.E.5.  Do not copy, display, perform, distribute or redistribute this
electronic work, or any part of this electronic work, without
prominently displaying the sentence set forth in paragraph 1.E.1 with
active links or immediate access to the full terms of the Project
Gutenberg-tm License.

1.E.6.  You may convert to and distribute this work in any binary,
compressed, marked up, nonproprietary or proprietary form, including any
word processing or hypertext form.  However, if you provide access to or
distribute copies of a Project Gutenberg-tm work in a format other than
"Plain Vanilla ASCII" or other format used in the official version
posted on the official Project Gutenberg-tm web site (www.gutenberg.org),
you must, at no additional cost, fee or expense to the user, provide a
copy, a means of exporting a copy, or a means of obtaining a copy upon
request, of the work in its original "Plain Vanilla ASCII" or other
form.  Any alternate format must include the full Project Gutenberg-tm
License as specified in paragraph 1.E.1.

1.E.7.  Do not charge a fee for access to, viewing, displaying,
performing, copying or distributing any Project Gutenberg-tm works
unless you comply with paragraph 1.E.8 or 1.E.9.

1.E.8.  You may charge a reasonable fee for copies of or providing
access to or distributing Project Gutenberg-tm electronic works provided
that

- You pay a royalty fee of 20% of the gross profits you derive from
     the use of Project Gutenberg-tm works calculated using the method
     you already use to calculate your applicable taxes.  The fee is
     owed to the owner of the Project Gutenberg-tm trademark, but he
     has agreed to donate royalties under this paragraph to the
     Project Gutenberg Literary Archive Foundation.  Royalty payments
     must be paid within 60 days following each date on which you
     prepare (or are legally required to prepare) your periodic tax
     returns.  Royalty payments should be clearly marked as such and
     sent to the Project Gutenberg Literary Archive Foundation at the
     address specified in Section 4, "Information about donations to
     the Project Gutenberg Literary Archive Foundation."

- You provide a full refund of any money paid by a user who notifies
     you in writing (or by e-mail) within 30 days of receipt that s/he
     does not agree to the terms of the full Project Gutenberg-tm
     License.  You must require such a user to return or
     destroy all copies of the works possessed in a physical medium
     and discontinue all use of and all access to other copies of
     Project Gutenberg-tm works.

- You provide, in accordance with paragraph 1.F.3, a full refund of any
     money paid for a work or a replacement copy, if a defect in the
     electronic work is discovered and reported to you within 90 days
     of receipt of the work.

- You comply with all other terms of this agreement for free
     distribution of Project Gutenberg-tm works.

1.E.9.  If you wish to charge a fee or distribute a Project Gutenberg-tm
electronic work or group of works on different terms than are set
forth in this agreement, you must obtain permission in writing from
both the Project Gutenberg Literary Archive Foundation and Michael
Hart, the owner of the Project Gutenberg-tm trademark.  Contact the
Foundation as set forth in Section 3 below.

1.F.

1.F.1.  Project Gutenberg volunteers and employees expend considerable
effort to identify, do copyright research on, transcribe and proofread
public domain works in creating the Project Gutenberg-tm
collection.  Despite these efforts, Project Gutenberg-tm electronic
works, and the medium on which they may be stored, may contain
"Defects," such as, but not limited to, incomplete, inaccurate or
corrupt data, transcription errors, a copyright or other intellectual
property infringement, a defective or damaged disk or other medium, a
computer virus, or computer codes that damage or cannot be read by
your equipment.

1.F.2.  LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
of Replacement or Refund" described in paragraph 1.F.3, the Project
Gutenberg Literary Archive Foundation, the owner of the Project
Gutenberg-tm trademark, and any other party distributing a Project
Gutenberg-tm electronic work under this agreement, disclaim all
liability to you for damages, costs and expenses, including legal
fees.  YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
PROVIDED IN PARAGRAPH 1.F.3.  YOU AGREE THAT THE FOUNDATION, THE
TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
DAMAGE.

1.F.3.  LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
defect in this electronic work within 90 days of receiving it, you can
receive a refund of the money (if any) you paid for it by sending a
written explanation to the person you received the work from.  If you
received the work on a physical medium, you must return the medium with
your written explanation.  The person or entity that provided you with
the defective work may elect to provide a replacement copy in lieu of a
refund.  If you received the work electronically, the person or entity
providing it to you may choose to give you a second opportunity to
receive the work electronically in lieu of a refund.  If the second copy
is also defective, you may demand a refund in writing without further
opportunities to fix the problem.

1.F.4.  Except for the limited right of replacement or refund set forth
in paragraph 1.F.3, this work is provided to you 'AS-IS', WITH NO OTHER
WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE.

1.F.5.  Some states do not allow disclaimers of certain implied
warranties or the exclusion or limitation of certain types of damages.
If any disclaimer or limitation set forth in this agreement violates the
law of the state applicable to this agreement, the agreement shall be
interpreted to make the maximum disclaimer or limitation permitted by
the applicable state law.  The invalidity or unenforceability of any
provision of this agreement shall not void the remaining provisions.

1.F.6.  INDEMNITY - You agree to indemnify and hold the Foundation, the
trademark owner, any agent or employee of the Foundation, anyone
providing copies of Project Gutenberg-tm electronic works in accordance
with this agreement, and any volunteers associated with the production,
promotion and distribution of Project Gutenberg-tm electronic works,
harmless from all liability, costs and expenses, including legal fees,
that arise directly or indirectly from any of the following which you do
or cause to occur: (a) distribution of this or any Project Gutenberg-tm
work, (b) alteration, modification, or additions or deletions to any
Project Gutenberg-tm work, and (c) any Defect you cause.


Section  2.  Information about the Mission of Project Gutenberg-tm

Project Gutenberg-tm is synonymous with the free distribution of
electronic works in formats readable by the widest variety of computers
including obsolete, old, middle-aged and new computers.  It exists
because of the efforts of hundreds of volunteers and donations from
people in all walks of life.

Volunteers and financial support to provide volunteers with the
assistance they need are critical to reaching Project Gutenberg-tm's
goals and ensuring that the Project Gutenberg-tm collection will
remain freely available for generations to come.  In 2001, the Project
Gutenberg Literary Archive Foundation was created to provide a secure
and permanent future for Project Gutenberg-tm and future generations.
To learn more about the Project Gutenberg Literary Archive Foundation
and how your efforts and donations can help, see Sections 3 and 4
and the Foundation information page at www.gutenberg.org


Section 3.  Information about the Project Gutenberg Literary Archive
Foundation

The Project Gutenberg Literary Archive Foundation is a non profit
501(c)(3) educational corporation organized under the laws of the
state of Mississippi and granted tax exempt status by the Internal
Revenue Service.  The Foundation's EIN or federal tax identification
number is 64-6221541.  Contributions to the Project Gutenberg
Literary Archive Foundation are tax deductible to the full extent
permitted by U.S. federal laws and your state's laws.

The Foundation's principal office is located at 4557 Melan Dr. S.
Fairbanks, AK, 99712., but its volunteers and employees are scattered
throughout numerous locations.  Its business office is located at 809
North 1500 West, Salt Lake City, UT 84116, (801) 596-1887.  Email
contact links and up to date contact information can be found at the
Foundation's web site and official page at www.gutenberg.org/contact

For additional contact information:
     Dr. Gregory B. Newby
     Chief Executive and Director
     gbnewby@pglaf.org

Section 4.  Information about Donations to the Project Gutenberg
Literary Archive Foundation

Project Gutenberg-tm depends upon and cannot survive without wide
spread public support and donations to carry out its mission of
increasing the number of public domain and licensed works that can be
freely distributed in machine readable form accessible by the widest
array of equipment including outdated equipment.  Many small donations
($1 to $5,000) are particularly important to maintaining tax exempt
status with the IRS.

The Foundation is committed to complying with the laws regulating
charities and charitable donations in all 50 states of the United
States.  Compliance requirements are not uniform and it takes a
considerable effort, much paperwork and many fees to meet and keep up
with these requirements.  We do not solicit donations in locations
where we have not received written confirmation of compliance.  To
SEND DONATIONS or determine the status of compliance for any
particular state visit www.gutenberg.org/donate

While we cannot and do not solicit contributions from states where we
have not met the solicitation requirements, we know of no prohibition
against accepting unsolicited donations from donors in such states who
approach us with offers to donate.

International donations are gratefully accepted, but we cannot make
any statements concerning tax treatment of donations received from
outside the United States.  U.S. laws alone swamp our small staff.

Please check the Project Gutenberg Web pages for current donation
methods and addresses.  Donations are accepted in a number of other
ways including checks, online payments and credit card donations.
To donate, please visit:  www.gutenberg.org/donate


Section 5.  General Information About Project Gutenberg-tm electronic
works.

Professor Michael S. Hart was the originator of the Project Gutenberg-tm
concept of a library of electronic works that could be freely shared
with anyone.  For forty years, he produced and distributed Project
Gutenberg-tm eBooks with only a loose network of volunteer support.

Project Gutenberg-tm eBooks are often created from several printed
editions, all of which are confirmed as Public Domain in the U.S.
unless a copyright notice is included.  Thus, we do not necessarily
keep eBooks in compliance with any particular paper edition.

Most people start at our Web site which has the main PG search facility:

     www.gutenberg.org

This Web site includes information about Project Gutenberg-tm,
including how to make donations to the Project Gutenberg Literary
Archive Foundation, how to help produce our new eBooks, and how to
subscribe to our email newsletter to hear about new eBooks.