Falling in Love - Grant Allen (e reader comics .txt) 📗

fish out of water, yet manages to fall nearly half-way under that peculiar category, for it always swims with its head partly above the surface and partly below. But the funniest thing in this queer arrangement is the fact that one half of each eye is out in the air and the other half is beneath in the water. Accordingly, the eye is divided horizontally by a dark strip into two distinct and unlike portions, the upper one of which has a pupil adapted to vision in the air alone, while the lower is adapted to seeing in the water only. The fish, in fact, always swims with its eye half out of the water, and it can see as well on dry land as in its native ocean. Its name is Anableps, but in all probability it does not wish the fact to be generally known.

The flying fish are fish out of water in a somewhat different and more transitory sense. Their aërial excursions are brief and rapid; they can only fly a very little way, and have soon to take once more for safety to their own more natural and permanent element. More than forty kinds of the family are known, in appearance very much like English herrings, but with the front fins expanded and modified into veritable wings. It is fashionable nowadays among naturalists to assert that the flying fish don't fly; that they merely jump horizontally out of the water with a powerful impulse, and fall again as soon as the force of the first impetus is entirely spent. When men endeavour to persuade you to such folly, believe them not. For my own part, I have seen the flying fish fly—deliberately fly, and flutter, and rise again, and change the direction of their flight in mid-air, exactly after the fashion of a big dragonfly. If the other people who have watched them haven't succeeded in seeing them fly, that is their own fault, or at least their own misfortune; perhaps their eyes weren't quick enough to catch the rapid, though to me perfectly recognisable, hovering and fluttering of the gauze-like wings; but I have seen them myself, and I maintain that on such a question one piece of positive evidence is a great deal better than a hundred negative. The testimony of all the witnesses who didn't see the murder committed is as nothing compared with the single testimony of the one man who really did see it. And in this case I have met with many other quick observers who fully agreed with me, against the weight of scientific opinion, that they have seen the flying fish really fly with their own eyes, and no mistake about it. The German professors, indeed, all think otherwise; but then the German professors all wear green spectacles, which are the outward and visible sign of 'blinded eyesight poring over miserable books.' The unsophisticated vision of the noble British seaman is unanimously with me on the matter of the reality of the fishes' flight.

Another group of very interesting fish out of water are the flying gurnards, common enough in the Mediterranean and the tropical Atlantic. They are much heavier and bigger creatures than the true flying fish of the herring type, being often a foot and a half long, and their wings are much larger in proportion, though not, I think, really so powerful as those of their pretty little silvery rivals. All the flying fish fly only of necessity, not from choice. They leave the water when pursued by their enemies, or when frightened by the rapid approach of a big steamer. So swiftly do they fly, however, that they can far outstrip a ship going at the rate of ten knots an hour; and I have often watched one keep ahead of a great Pacific liner under full steam for many minutes together in quick successive flights of three or four hundred feet each. Oddly enough, they can fly further against the wind than before it—a fact acknowledged even by the spectacled Germans themselves, and very hard indeed to reconcile with the orthodox belief that they are not flying at all, but only jumping. I don't know whether the flying gurnards are good eating or not; but the silvery flying fish are caught for market (sad desecration of the poetry of nature!) in the Windward Islands, and when nicely fried in egg and bread-crumb are really quite as good for practical purposes as smelts or whiting or any other prosaic European substitute.

On the whole, it will be clear, I think, to the impartial reader from this rapid survey that the helplessness and awkwardness of a fish out of water has been much exaggerated by the thoughtless generalisation of unscientific humanity. Granting, for argument's sake, that most fish prefer the water, as a matter of abstract predilection, to the dry land, it must be admitted per contra that many fish cut a much better figure on terra firma than most of their critics themselves would cut in mid-ocean. There are fish that wriggle across country intrepidly with the dexterity and agility of the most accomplished snakes; there are fish that walk about on open sand-banks, semi-erect on two legs, as easily as lizards; there are fish that hop and skip on tail and fins in a manner that the celebrated jumping frog himself might have observed with envy; and there are fish that fly through the air of heaven with a grace and swiftness that would put to shame innumerable species among their feathered competitors. Nay, there are even fish, like some kinds of eels and the African mud-fish, that scarcely live in the water at all, but merely frequent wet and marshy places, where they lie snugly in the soft ooze and damp earth that line the bottom. If I have only succeeded, therefore, in relieving the mind of one sensitive and retiring fish from the absurd obloquy cast upon its appearance when it ventures away for awhile from its proper element, then, in the pathetic and prophetic words borrowed from a thousand uncut prefaces, this work will not, I trust, have been written in vain.

THE FIRST POTTER

Collective humanity owes a great debt of gratitude to the first potter. Before his days the art of boiling, though in one sense very simple and primitive indeed, was in another sense very complex, cumbersome, and lengthy. The unsophisticated savage, having duly speared and killed his antelope, proceeded to light a roaring fire, with flint or drill, by the side of some convenient lake or river in his tropical jungle. Then he dug a big hole in the soft mud close to the water's edge, and let the water (rather muddy) percolate into it, or sometimes even he plastered over its bottom with puddled clay. After that, he heated some smooth round stones red hot in the fire close by, and drawing them out gingerly between two pieces of stick, dropped them one by one, spluttering and fizzing, into his improvised basin or kettle. This, of course, made the water in the hole boil; and the unsophisticated savage thereupon thrust into it his joint of antelope, repeating the process over and over again until the sodden meat was completely seethed to taste on the outside. If one application was not sufficient, he gnawed off the cooked meat from the surface with his stout teeth, innocent as yet of the dentist's art, and plunged the underdone core back again, till it exactly suited his not over-delicate or dainty fancy.

To be sure, the primitive savage, unversed as he was in pastes and glazes, in moulds and ornaments, did not pass his life entirely devoid of cups and platters. Coconut shell and calabash rind, horn of ox and skull of enemy, bamboo-joint and capacious rhomb-shell, all alike, no doubt, supplied him with congenial implements for drink or storage. Like Eve in the Miltonic Paradise, there lacked him not fit vessels pure; picking some luscious tropical fruit, the savoury pulp he chewed, and in the rind still as he thirsted scooped the brimming stream. This was satisfactory as far as it went, of course, but it was not pottery. He couldn't boil his joint for dinner in coconut or skull; he had to do it with stone pot-boilers, in a rude kettle of puddled clay.

But at last one day, that inspired barbarian, the first potter, hit by accident upon his grand discovery. He had carried some water in a big calabash—the hard shell of a tropical fruit whose pulpy centre can be easily scooped out—and a happy thought suddenly struck him: why not put the calabash to boil upon the fire with a little clay smeared outside it? The savage is conservative, but he loves to save trouble. He tried the experiment, and it succeeded admirably. The water boiled, and the calabash was not burnt or broken. Our nameless philosopher took the primitive vessel off the fire with a forked branch and looked at it critically with the delighted eyes of a first inventor. A wonderful change had suddenly come over it. He had blundered accidentally upon the art of pottery. For what is this that has happened to the clay? It went in soft, brown, and muddy; it has come out hard, red, and stone-like. The first potter ruminated and wondered. He didn't fully realise, no doubt, what he had actually done; but he knew he had invented a means by which you could put a calabash upon a fire and keep it there without burning or bursting. That, after all, was at least something.

All this, you say (which, in effect, is Dr. Tylor's view), is purely hypothetical. In one sense, yes; but not in another. We know that most savage races still use natural vessels, made of coconuts, gourds, or calabashes, for everyday purposes of carrying water; and we also know that all the simplest and earliest pottery is moulded on the shape of just such natural jars and bottles. The fact and the theory based on it are no novelties. Early in the sixteenth century, indeed, the Sieur Gonneville, skipper of Honfleur, sailing round the Cape of Good Hope, made his way right across the Southern Ocean to some vague point of South America where he found the people still just in the intermediate stage between the use of natural vessels and the invention of pottery. For these amiable savages (name and habitat unknown) had wooden pots 'plastered with a kind of clay a good finger thick, which prevents the fire from burning them.' Here we catch industrial evolution in the very act, and the potter's art in its first infancy, fossilised and crystallised, as it were, in an embryo condition, and fixed for us immovably by the unprogressive conservatism of a savage tribe. It was this curious early observation of evolving keramic art that made Goguet—an anthropologist born out of due season—first hit upon that luminous theory of the origin of pottery now all but universally accepted.

Plenty of evidence to the same effect is now forthcoming for the modern inquirer. Among the ancient monuments of the Mississippi valley, Squier and Davis found the kilns in which the primitive pottery had been baked; and among their relics were partially burnt pots retaining in part the rinds of the gourds or calabashes on which they had been actually modelled. Along the Gulf of Mexico gourds were also used to give shape to the pot; and all over the world, even to this day, the gourd form is a very common one for pottery of all sorts, thus pointing back, dimly and curiously, to the original mode in which fictile ware generally came to be invented. In Fiji and in many parts of Africa vessels modelled upon natural forms are still universal. Of course all such pots as these are purely hand-made; the invention of the potter's wheel, now so indissolubly