第150章

To the residence of Dr. Hockin. He has a fine collection of books relating to New Zealand; and his house is a museum of Maori art and antiquities. He has pictures and prints in color of many native chiefs of the past--some of them of note in history. There is nothing of the savage in the faces; nothing could be finer than these men's features, nothing more intellectual than these faces, nothing more masculine, nothing nobler than their aspect. The aboriginals of Australia and Tasmania looked the savage, but these chiefs looked like Roman patricians. The tattooing in these portraits ought to suggest the savage, of course, but it does not. The designs are so flowing and graceful and beautiful that they are a most satisfactory decoration. It takes but fifteen minutes to get reconciled to the tattooing, and but fifteen more to perceive that it is just the thing. After that, the undecorated European face is unpleasant and ignoble.

Dr. Hockiu gave us a ghastly curiosity--a lignified caterpillar with a plant growing out of the back of its neck--a plant with a slender stem 4inches high. It happened not by accident, but by design--Nature's design. This caterpillar was in the act of loyally carrying out a law inflicted upon him by Nature--a law purposely inflicted upon him to get him into trouble--a law which was a trap; in pursuance of this law he made the proper preparations for turning himself into a night-moth; that is to say, he dug a little trench, a little grave, and then stretched himself out in it on his stomach and partially buried himself--then Nature was ready for him. She blew the spores of a peculiar fungus through the air with a purpose. Some of them fell into a crease in the back of the caterpillar's neck, and began to sprout and grow--for there was soil there--he had not washed his neck. The roots forced themselves down into the worm's person, and rearward along through its body, sucking up the creature's juices for sap; the worm slowly died, and turned to wood. And here he was now, a wooden caterpillar, with every detail of his former physique delicately and exactly preserved and perpetuated, and with that stem standing up out of him for his monument--monument commemorative of his own loyalty and of Nature's unfair return for it.

Nature is always acting like that. Mrs. X. said (of course) that the caterpillar was not conscious and didn't suffer. She should have known better. No caterpillar can deceive Nature. If this one couldn't suffer, Nature would have known it and would have hunted up another caterpillar.

Not that she would have let this one go, merely because it was defective.

No. She would have waited and let him turn into a night-moth; and then fried him in the candle.

Nature cakes a fish's eyes over with parasites, so that it shan't be able to avoid its enemies or find its food. She sends parasites into a star-fish's system, which clog up its prongs and swell them and make them so uncomfortable that the poor creature delivers itself from the prong to ease its misery; and presently it has to part with another prong for the sake of comfort, and finally with a third. If it re-grows the prongs, the parasite returns and the same thing is repeated. And finally, when the ability to reproduce prongs is lost through age, that poor old star-fish can't get around any more, and so it dies of starvation.

In Australia is prevalent a horrible disease due to an "unperfected tapeworm." Unperfected--that is what they call it, I do not know why, for it transacts business just as well as if it were finished and frescoed and gilded, and all that.

November 9. To the museum and public picture gallery with the president of the Society of Artists. Some fine pictures there, lent by the S. of A. several of them they bought, the others came to them by gift. Next, to the gallery of the S. of A.--annual exhibition--just opened. Fine.

Think of a town like this having two such collections as this, and a Society of Artists. It is so all over Australasia. If it were a monarchy one might understand it. I mean an absolute monarchy, where it isn't necessary to vote money, but take it. Then art flourishes. But these colonies are republics--republics with a wide suffrage; voters of both sexes, this one of New Zealand. In republics, neither the government nor the rich private citizen is much given to propagating art.

All over Australasia pictures by famous European artists are bought for the public galleries by the State and by societies of citizens. Living citizens--not dead ones. They rob themselves to give, not their heirs.

This S. of A. here owns its buildings built it by subscription.