by Grant Allen
In England itself, on the other hand, we have at least one kind of fish which exemplifies the opposite or migratory solution of the dry pond problem, and that is our familiar friend the common eel. The ways of eels are indeed mysterious, for nobody has ever yet succeeded in discovering where, when, or how they manage to spawn; nobody has ever yet seen an eel’s egg, or caught a female eel in the spawning condition, or even observed a really adult male or female specimen of perfect development. All the eels ever found in fresh water are immature and undeveloped creatures. But eels do certainly spawn somewhere or other in the deep sea, and every year, in the course of the summer, flocks of young ones, known as elvers, ascend the rivers in enormous quantities, like a vast army under numberless leaders. At each tributary or affluent, be it river, brook, stream, or ditch, a proportionate detachment of the main body is given off to explore the various branches, while the central force wriggles its way up the chief channel, regardless of obstacles, with undiminished vigour. When the young elvers come to a weir, a wall, a floodgate, or a lasher, they simply squirm their way up the perpendicular barrier with indescribable wrigglings, as if they were wholly unacquainted, physically as well as mentally, with Newton’s magnificent discovery of gravitation. Nothing stops them; they go wherever water is to be found; and though millions perish hopelessly in the attempt, millions more survive in the end to attain their goal in the upper reaches. They even seem to scent ponds or lakes mysteriously, at a distance, and will strike boldly straight across country, to sheets of water wholly cut off from communication with the river which forms their chief highway.
The full-grown eels are also given to journeying across country in a more sober, sedate, and dignified manner, as becomes fish which have fully arrived at years, or rather months, of discretion. When the ponds in which they live dry up in summer, they make in a bee-line for the nearest sheet of fresh water, whose direction and distance they appear to know intuitively, through some strange instinctive geographical faculty. On their way across country, they do not despise the succulent rat, whom they swallow whole when caught with great gusto. To keep their gills wet during these excursions, eels have the power of distending the skin on each side of the neck, just below the head, so as to form a big pouch or swelling. This pouch they fill with water, to carry a good supply along with them, until they reach the ponds for which they are making. It is the pouch alone that enables eels to live so long out of water under all circumstances, and so incidentally exposes them to the disagreeable experience of getting skinned alive, which it is to be feared still forms the fate of most of those that fall into the clutches of the human species.
A far more singular walking fish than any of these is the odd creature that rejoices (unfortunately) in the very classical surname of Periophthalmus, which is, being interpreted, Stare-about. (If he had a recognised English name of his own, I would gladly give it; but as he hasn’t, and as it is clearly necessary to call him something, I fear we must stick to the somewhat alarming scientific nomenclature.) Periophthalmus, then, is an odd fish of the tropical Pacific shores, with a pair of very distinct forelegs (theoretically described as modified pectoral fins), and with two goggle eyes, which he can protrude at pleasure right outside the sockets, so as to look in whatever direction he chooses, without even taking the trouble to turn his head to left or right, backward or forward. At ebb tide this singular peripatetic goby literally walks straight out of the water, and promenades the bare beach erect on two legs, in search of small crabs and other stray marine animals left behind by the receding waters. If you try to catch him, he hops away briskly much like a frog, and stares back at you grimly over his left shoulder, with his squinting optics. So completely adapted is he for this amphibious long-shore existence, that his big eyes, unlike those of most other fish, are formed for seeing in the air as well as in the water. Nothing can be more ludicrous than to watch him suddenly thrusting these very movable orbs right out of their sockets like a pair of telescopes, and twisting them round in all directions so as to see in front, behind, on top, and below, in one delightful circular sweep.
There is also a certain curious tropical American carp which, though it hardly deserves to be considered in the strictest sense as a 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 associated in all our minds with the production of earthenware, belongs to an infinitely later and almost modern period.
And that consideration naturally suggests the fundamental question, When did the first potter live? The world (as Sir Henry Taylor has oracularly told us) knows nothing of its greatest men; and the very name of the father of all potters has been utterly forgotten in the lapse of ages. Indeed, paradoxical as it may sound to say so, one may reasonably doubt whether there was ever actually any one single man on whom one could definitely lay one’s finger, and say with confidence, Here we have the first potter. Pottery, no doubt, like most other things, grew by imperceptible degrees from wholly vague and rudimentary beginnings. Just as there were steam-engines before Watt, and locomotives before Stephenson, so there were pots before the first potter. Many men must have discovered separately, by half-unconscious trials, that a coat of mud rudely plastered over the bottom of a calabash prevented it from catching fire and spilling its contents; other men slowly learned to plaster the mud higher and ever higher up the sides; and yet others gradually introduced and patented new improvements for wholly encasing the entire cup in an inch thickness of carefully kneaded clay. Bit by bit the invention grew, like all great inventions, without any inventor. Thus the question of the date of the first potter practically resolves itself into the simpler question of the date of the earliest known pottery.
Did palæolithic man, that antique naked crouching savage who hunted th
e mammoth, the reindeer, and the cave-bear among the frozen fields of interglacial Gaul and Britain — did palæolithic man himself, in his rude rock-shelters, possess a knowledge of the art of pottery? That is a question which has been much debated amongst archæologists, and which cannot even now be considered as finally settled before the tribunal of science. He must have drunk out of something or other, but whether he drank out of earthenware cups is still uncertain. It is pretty clear that the earliest drinking vessels used in Europe were neither bowls of earthenware nor shells of fruits, for the cold climate of interglacial times did not permit the growth in northern latitudes of such large natural vessels as gourds, calabashes, bamboos, or coco-nuts. In all probability the horns of the aurochs and the wild cattle, and the capacious skull of the fellow-man whose bones he had just picked at his ease for his cannibal supper, formed the aboriginal goblets and basins of the old black European savage. A curious verbal relic of the use of horns as drinking-cups survives indeed down to almost modern times in the Greek word keramic, still commonly applied to the art of pottery, and derived, of course, from keras, a horn; while as to skulls, not only were they frequently used as drinking-cups by our Scandinavian ancestors, but there still exists a very singular intermediate American vessel in which the clay has actually been moulded on a human skull as model, just as other vessels have been moulded on calabashes or other suitable vegetable shapes.
Still, the balance of evidence certainly seems to show that a little very rude and almost shapeless hand-made pottery has really been discovered amongst the buried caves where palæolithic men made for ages their chief dwelling-places. Fragments of earthenware occurred in the Hohefels cave near Ulm, in company with the bones of reindeer, cave-bears, and mammoths, whose joints had doubtless been duly boiled, a hundred thousand years ago, by the intelligent producer of those identical sun-dried fleshpots; and M. Joly, of Toulouse, has in his possession portions of an irregularly circular, flat-bottomed vessel, from the cave of Nabrigas, on which the finger-marks of the hand that moulded the clay are still clearly distinguishable on the baked earthenware. That is the great merit of pottery, viewed as an historical document; it retains its shape and peculiarities unaltered through countless centuries, for the future edification of unborn antiquaries. Litera scripta manet, and so does baked pottery. The hand itself that formed that rude bowl has long since mouldered away, flesh and bone alike, into the soil around it; but the print of its fingers, indelibly fixed by fire into the hardened clay, remains for us still to tell the story of that early triumph of nascent keramics.
