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Last of all, like diners-out at dessert, the evolutionists take to politics. Having shown us entirely to their own satisfaction the growth of suns, and systems, and worlds, and continents, and oceans, and plants, and animals, and minds, they proceed to show us the exactly analogous and parallel growth of communities, and nations, and languages, and religions, and customs, and arts, and institutions, and literatures. Man, the evolving savage, as Tylor, Lubbock, and others have proved for us, slowly putting off his brute aspect derived from his early ape-like ancestors, learned by infinitesimal degrees the use of fire, the mode of manufacturing stone hatchets and flint arrowheads, the earliest beginnings of the art of pottery. With drill or flint he became the Prometheus to his own small heap of sticks and dry leaves among the tertiary forests. By his nightly camp-fire he beat out gradually his excited gesture-language and his oral speech. He tamed the dog, the horse, the cow, the camel. He taught himself to hew small clearings in the woodland, and to plant the banana, the yam, the bread-fruit, and the coco-nut. He picked and improved the seeds of his wild cereals till he made himself from grass-like grains his barley, his oats, his wheat, his Indian corn. In time, he dug out ore from mines, and learnt the use first of gold, next of silver, then of copper, tin, bronze, and iron. Side by side with these long secular changes, he evolved the family, communal or patriarchal, polygamic or monogamous. He built the hut, the house, and the palace. He clothed or adorned himself first in skins and leaves and feathers; next in woven wool and fibre; last of all in purple and fine linen, and fared sumptuously every day. He gathered into hordes, tribes, and nations; he chose himself a king, gave himself laws, and built up great empires in Egypt, Assyria, China, and Peru. He raised him altars, Stonehenges and Karnaks. His picture-writing grew into hieroglyphs and cuneiforms, and finally emerged, by imperceptible steps, into alphabetic symbols, the raw material of the art of printing. His dug-out canoe culminates in the iron-clad and the 'Great Eastern'; his boomerang and slingstone in the Woolwich infant; his boiling pipkin and his wheeled car in the locomotive engine; his picture-message in the telephone and the Atlantic cable. Here, where the course of evolution has really been most marvellous, its steps have been all more distinctly historical; so that nobody now doubts the true descent of Italian, French, and Spanish from provincial Latin, or the successive growth of the trireme, the 'Great Harry,' the 'Victory,' and the 'Minotaur' from the coracles or praus of prehistoric antiquity.

The grand conception of the uniform origin and development of all things, earthly or sidereal, thus summed up for us in the one word evolution, belongs by right neither to Charles Darwin nor to any other single thinker. It is the joint product of innumerable workers, all working up, though some of them unconsciously, towards a grand final unified philosophy of the cosmos. In astronomy, Kant, Laplace, and the Herschels; in geology, Hutton, Lyell, and the Geikies; in biology, Buffon, Lamarck, the Darwins, Huxley, and Spencer; in psychology, Spencer, Romanes, Sully, and Ribot; in sociology, Spencer, Tylor, Lubbock, and De Mortillet—these have been the chief evolutionary teachers and discoverers. But the use of the word evolution itself, and the establishment of the general evolutionary theory as a system of philosophy applicable to the entire universe, we owe to one man alone—Herbert Spencer. Many other minds—from Galileo and Copernicus, from Kepler and Newton, from Linnæus and Tournefort, from D'Alembert and Diderot, nay, even, in a sense, from Aristotle and Lucretius—had been piling together the vast collection of raw material from which that great and stately superstructure was to be finally edified. But the architect who placed each block in its proper niche, who planned and designed the whole elevation, who planted the building firmly on the rock and poised the coping-stone on the topmost pinnacle, was the author of the 'System of Synthetic Philosophy,' and none other. It is a strange proof of how little people know about their own ideas, that among the thousands who talk glibly every day of evolution, not ten per cent. are probably aware that both word and conception are alike due to the commanding intelligence and vast generalising power of Herbert Spencer.

STRICTLY INCOG

Among the reefs of rock upon the Australian coast, an explorer's dredge often brings up to the surface some tangled tresses of reddish seaweed, which, when placed for a while in a bucket of water, begin slowly to uncoil themselves as if endowed with animal life, and finally to swim about with a gentle tremulous motion in a mute inquiring way from side to side of the pail that contains them. Looked at closely with an attentive eye, the complex moving mass gradually resolves itself into two parts: one a ruddy seaweed with long streaming fronds; the other, a strangely misshapen and dishevelled pipe-fish, exactly imitating the weed itself in form and colour. When removed from the water, this queer pipe-fish proves in general outline somewhat to resemble the well-known hippocampus or sea-horse of the aquariums, whose dried remains, in a mummified state, form a standing wonder in many tiny domestic museums. But the Australian species, instead of merely mimicking the knight on a chess-board, looks rather like a hippocampus in the most advanced stage of lunacy, with its tail and fins and the appendages of its spines flattened out into long thin streaming filaments, utterly indistinguishable in hue and shape from the fucus round which the creature clings for support with its prehensile tail. Only a rude and shapeless rough draught of a head, vaguely horse-like in contour, and inconspicuously provided with an unobtrusive snout and a pair of very unnoticeable eyes, at all suggests to the most microscopic observer its animal nature. Taken as a whole, nobody could at first sight distinguish it in any way from the waving weed among which it vegetates.

Clearly, this curious Australian cousin of the Mediterranean sea-horses has acquired so marvellous a resemblance to a bit of fucus in order to deceive the eyes of its ever-watchful enemies, and to become indistinguishable from the uneatable weed whose colour and form it so surprisingly imitates. Protective resemblances of the sort are extremely common among the pipe-fish family, and the reason why they should be so is no doubt sufficiently obvious at first sight to any reflecting mind—such, for example, as the intelligent reader's. Pipe-fish, as everybody knows, are far from giddy. They do not swim in the vortex of piscine dissipation. Being mostly small and defenceless creatures, lurking among the marine vegetation of the shoals and reefs, they are usually accustomed to cling for support by their snake-like tails to the stalks or leaves of those submerged forests. The omniscient schoolboy must often have watched in aquariums the habits and manners of the common sea-horses, twisted together by their long thin bodies into one inextricable mass of living matwork, or anchored firmly with a treble serpentine coil to some projecting branch of coralline or of quivering sea-wrack. Bad swimmers by nature, utterly unarmed, and wholly undefended by protective mail, the pipe-fish generally can neither fight nor run away: and therefore they depend entirely for their lives upon their peculiar skulking and lurking habits. Their one mode of defence is not to show themselves; discretion is the better part of their valour; they hide as much as possible among the thickest seaweed, and trust to Providence to escape observation.

Now, with any animals thus constituted, cowards by hereditary predilection, it must necessarily happen that the more brightly coloured or obtrusive individuals will most readily be spotted and most unceremoniously devoured by their sharp-sighted foes, the predatory fishes. On the other hand, just in proportion as any particular pipe-fish happens to display any chance resemblance in colour or appearance to the special seaweed in whose folds it lurks, to that extent will it be likely to escape detection, and to hand on its peculiarities to its future descendants. A long-continued course of the simple process thus roughly described must of necessity result at last in the elimination of all the most conspicuous pipe-fish, and the survival of all those unobtrusive and retiring individuals which in any respect happen to resemble the fucus or coralline among which they dwell. Hence, in many places, various kinds of pipe-fish exhibit an extraordinary amount of imitative likeness to the sargasso or seaweed to whose tags they cling; and in the three most highly developed Australian species the likeness becomes so ridiculously close that it is with difficulty one can persuade oneself one is really and truly looking at a fish, and not at a piece of strangely animated and locomotive fucus.

Of course, the playful pipe-fish is by no means alone in his assumption of so neat and effective a disguise. Protective resemblances of just the same sort as that thus exhibited by this extraordinary little creature are common throughout the whole range of nature; instances are to be found in abundance, not only among beasts, birds, reptiles, and fishes, but even among caterpillars, butterflies, and spiders, of species which preserve the strictest incognito. Everywhere in the world, animals and plants are perpetually masquerading in various assumed characters; and sometimes their make-up is so exceedingly good as to take in for a while not merely the uninstructed ordinary observer, but even the scientific and systematic naturalist.

A few selected instances of such successful masquerading will perhaps best serve to introduce the general principles upon which all animal mimicry ultimately depends. Indeed, naturalists of late years have been largely employed in fishing up examples from the ends of the earth and from the depths of the sea for the elucidation of this very subject. There is a certain butterfly in the islands of the Malay Archipelago (its learned name, if anybody wishes to be formally introduced, is Kallima paralekta) which always rests among dead or dry leaves, and has itself leaf-like wings, all spotted over at intervals with wee speckles to imitate the tiny spots of fungi on the foliage it resembles. The well-known stick and leaf insects from the same rich neighbourhood in like manner exactly mimic the twigs and leaves of the forest among which they lurk: some of them look for all the world like little bits of walking bamboo, while others appear in all varieties of hue, as if opening buds and full-blown leaves and pieces of yellow foliage sprinkled with the tints and moulds of decay had of a sudden raised themselves erect upon six legs, and begun incontinently to perambulate the Malayan woodlands like vegetable Frankensteins in all their glory. The larva of one such deceptive insect, observed in Nicaragua by sharp-eyed Mr. Belt, appeared at first sight like a mere fragment of the moss on which it rested, its body being all prolonged into little thread-like green filaments, precisely imitating the foliage around it. Once more, there are common flies which secure protection for themselves by growing into the counterfeit presentment of wasps or hornets, and so obtaining immunity from the attacks of birds or animals. Many of these curiously mimetic insects are banded with yellow and black in the very image of their stinging originals, and have their tails sharpened, in terrorem, into a pretended sting, to give point and verisimilitude to the deceptive resemblance. More curious still, certain South American butterflies of a perfectly inoffensive and edible family mimic in every spot and line of colour sundry other butterflies of an utterly unrelated and fundamentally dissimilar type, but of so disagreeable a taste as never to be eaten by birds or lizards. The origin of these curious resemblances I shall endeavour to explain (after Messrs. Bates and Wallace) a little farther on: for the present it is enough to observe that the extraordinary resemblances thus produced have often deceived the very elect, and have caused experienced naturalists for a time to stick some deceptive specimen of a fly among the wasps and hornets, or some masquerading cricket into the midst of a cabinet full of saw-flies or ichneumons.

Let us look briefly at the other instances of protective coloration in nature generally which lead up to these final bizarre exemplifications of the masquerading tendency.

Wherever all the world around is remarkably uniform in colour and appearance, all the animals, birds, and insects alike necessarily disguise themselves in its prevailing tint to escape observation. It does not matter in the least whether they are predatory or defenceless, the hunters or the hunted: if they are to escape destruction or starvation, as the case may be, they must assume the hue of all the rest of nature about them. In the arctic snows, for example, all animals, without exception, must needs be snow-white. The polar bear, if he were brown or black, would immediately be observed among the unvaried ice-fields by his expected prey, and could never get a chance of approaching his quarry unperceived at close quarters. On the other hand, the arctic hare must equally be dressed in a snow-white coat, or the arctic fox would too readily discover him and pounce down upon him off-hand; while, conversely, the fox himself, if red or brown, could never creep upon the unwary hare without previous detection, which would defeat his purpose. For this reason, the ptarmigan and the willow grouse become as white in winter as the vast snow-fields under which they burrow; the ermine changes his dusky summer coat for the expensive wintry suit beloved of British Themis; the snow-bunting acquires his milk-white plumage; and even the weasel assimilates himself more or less in hue to the unvarying garb of arctic nature. To be out of the fashion is there quite literally to be out of the world: no half-measures will suit the stern decree of polar biology; strict compliance with the law of winter change is absolutely necessary to success in the struggle for existence.

Now, how has this curious uniformity of dress in arctic animals been brought about? Why, simply by that unyielding principle of Nature which condemns the less adapted for ever to extinction, and exalts the better adapted to the high places of her hierarchy in their stead. The ptarmigan and the snow-buntings that look most like the snow have for ages been least likely to attract the unfavourable attention of arctic fox or prowling ermine; the fox or ermine that came most silently and most unperceived across the shifting drifts has been most likely to steal unawares upon the heedless flocks of ptarmigan and snow-bunting. In the one case protective colouring preserves the animal from himself being devoured; in the other case it enables him the more easily to devour others. And since 'Eat or be eaten' is the shrill sentence of Nature upon all animal life, the final result is the unbroken whiteness of the arctic fauna in all its developments of fur or feather.

Where the colouring of nature is absolutely uniform, as among the arctic snows or the chilly mountain tops, the colouring of the animals is uniform too. Where it is slightly diversified from point to point, as in the sands of the desert, the animals that imitate it are speckled or diversified with various soft neutral tints. All the birds, reptiles, and insects of Sahara, says Canon Tristram, copy closely the grey or isabelline colour of the boundless sands that stretch around them. Lord George Campbell, in his amusing 'Log Letters from the "Challenger,"' mentions a butterfly on the shore at Amboyna which looked exactly like a bit of the beach, until it spread its wings and fluttered away gaily to leeward. Soles and other flat-fish similarly resemble the sands or banks on which they lie, and accommodate themselves specifically to the particular colour of their special bottom. Thus the flounder imitates the muddy bars at the mouths of rivers, where he loves to half bury himself in the congenial ooze; the sole, who rather affects clean hard sand-banks, is simply sandy and speckled with grey; the plaice, who goes in by preference for a bed of mixed pebbles, has red and yellow spots scattered up and down irregularly among the brown, to look as much as possible like agates and carnelians: the brill, who hugs a still rougher ledge, has gone so far as to acquire raised lumps or tubercles on his upper surface, which make him seem like a mere bit of the shingle-strewn rock on which he reposes. In short, where the environment is most uniform the colouring follows suit: just in proportion as the environment varies from place to place, the colouring must vary in order to simulate it. There is a deep biological joy in the term 'environment'; it almost rivals the well-known consolatory properties of that sweet word 'Mesopotamia.' 'Surroundings,' perhaps, would equally well express the meaning, but then, as Mr. Wordsworth justly observes, 'the difference to me!'

Between England and the West Indies, about the time when one begins to recover from the first bout of sea-sickness, we come upon a certain sluggish tract of ocean, uninvaded by either Gulf Stream or arctic current, but slowly stagnating in a sort of endless eddy of its own, and known to sailors and books of physical geography as the Sargasso Sea. The sargasso or floating seaweed from which it takes its poetical name is a pretty yellow rootless alga, swimming in vast quantities on the surface of the water, and covered with tiny bladder-like bodies which at first sight might easily be mistaken for amber berries. If you drop a bucket over the ship's side and pull up a tangled mass of this beautiful seaweed, it will seem at first to be all plant alike; but, when you come to examine its tangles closely, you will find that it simply swarms with tiny crabs, fishes, and shrimps, all coloured so precisely to shade that they look exactly like the sargasso itself. Here the colour about is less uniform than in the arctic snows, but, so far as the sargasso-haunting animals are concerned, it comes pretty much to the same thing. The floating mass of weed is their whole world, and they have had to accommodate themselves to its tawny hue under pain of death, immediate and violent.

Caterpillars and butterflies often show us a further step in advance in the direction of minute imitation of ordinary surroundings. Dr. Weismann has published a very long and learned memoir, fraught with the best German erudition and prolixity, upon this highly interesting and obscure subject. As English readers, however, not unnaturally object to trudging through a stout volume on the larva of the sphinx moth, conceived in the spirit of those patriarchal ages of Hilpa and Shalum, when man lived to nine hundred and ninety-nine years, and devoted a stray century or so without stint to the work of education, I shall not refer them to Dr. Weismann's original treatise, as well translated and still further enlarged by Mr. Raphael Meldola, but will present them instead with a brief résumé, boiled down and condensed into a patent royal elixir of learning. Your caterpillar, then, runs many serious risks in early life from the annoying persistence of sundry evil-disposed birds, who insist at inconvenient times in picking him off the leaves of gooseberry bushes and other his chosen places of residence. His infant mortality, indeed, is something simply appalling, and it is only by laying the eggs that produce him in enormous quantities that his fond mother the butterfly ever succeeds in rearing on an average two of her brood to replace the imago generation just departed. Accordingly, the caterpillar has been forced by adverse circumstances to assume the most ridiculous and impossible disguises, appearing now in the shape of a leaf or stem, now as a bundle of dark-green pine needles, and now again as a bud or flower, all for the innocent purpose of concealing his whereabouts from the inquisitive gaze of the birds his enemies.

When the caterpillar lives on a plant like a grass, the ribs or veins of which run up and down longitudinally, he is usually striped or streaked with darker lines in the same direction as those on his native foliage. When, on the contrary, he lives upon broader leaves, provided with a midrib and branching veins, his stripes and streaks (not to be out of the fashion) run transversely and obliquely, at exactly the same angle as those of his wonted food-plant. Very often, if you take a green caterpillar of this sort away from his natural surroundings, you will be surprised at the conspicuousness of his pale lilac or mauve markings; surely, you will think to yourself, such very distinct variegation as that must betray him instantly to his watchful enemies. But no; if you replace him gently where you first found him, you will see that the lines exactly harmonise with the joints and shading of his native leaf: they are delicate representations of the soft shadow cast by a rib or vein, and the local colour is precisely what a painter would have had to use in order to produce the corresponding effect. The shadow of yellowish green is, of course, always purplish or lilac. It may at first sight seem surprising that a caterpillar should possess so much artistic sense and dexterity; but then the penalty for bungling or inharmonious work is so very severe as necessarily to stimulate his imitative genius. Birds are for ever hunting him down among the green leaves, and only those caterpillars which effectually deceive them by their admirable imitations can ever hope to survive and become the butterflies who hand on their larval peculiarities to after ages. Need I add that the variations are, of course, unconscious, and that accident in the first place is ultimately answerable for each fresh step in the direction of still closer simulation?

The geometric moths have brown caterpillars, which generally stand erect when at rest on the branches of trees and so resemble small twigs; and, in order that the resemblance may be the more striking, they are often covered with tiny warts which look like buds or knots upon the surface. The larva of that familiar and much-dreaded insect, the death's-head hawk-moth, feeds as a rule on the foliage of the potato, and its very varied colouring, as Sir John Lubbock has pointed out, so beautifully harmonises with the brown of the earth, the yellow and green of the leaves, and the faint purplish blue of the lurid flowers, that it can only be distinguished when the eye happens accidentally to focus itself exactly upon the spot occupied by the unobtrusive caterpillar. Other larvæ which frequent pine trees have their bodies covered with tufts of green hairs that serve to imitate the peculiar pine foliage. One queer little caterpillar, which lives upon the hoary foliage of the sea-buckthorn, has a grey-green body, just like the buckthorn leaves, relieved by a very conspicuous red spot which really represents in size and colour one of the berries that grow around it. Finally the larva of the elephant hawk-moth, which grows to a very large size, has a pair of huge spots that seem like great eyes; and direct experiment establishes the fact that small birds mistake it for a young snake, and stand in terrible awe of it accordingly, though it is in reality a perfectly harmless insect, and also, as I am credibly informed (for I cannot speak upon the point from personal experience), a very tasty and well-flavoured insect, and 'quite good to eat' too, says an eminent authority. One of these big snake-like caterpillars once frightened Mr. Bates himself on the banks of the Amazon.

Now, I know that cantankerous person, the universal objector, has all along been bursting to interrupt me and declare that he himself frequently finds no end of caterpillars, and has not the slightest difficulty at all in distinguishing them with the naked eye from the leaves and plants among which they are lurking. But observe how promptly we crush and demolish this very inconvenient and disconcerting critic. The caterpillars he finds are almost all hairy ones, very conspicuous and easy to discover—'woolly bears,' and such like common and unclean creatures—and the reason they take no pains to conceal themselves from his unobservant eyes is simply this: nobody on earth wants to discover them. For either they are protectively encased in horrid hairs, which get down your throat and choke you and bother you (I speak as a bird, from the point of view of a confirmed caterpillar eater), or else they are bitter and nasty to the taste, like the larva of the spurge moth and the machaon butterfly. These are the ordinary brown and red and banded caterpillars that the critical objector finds in hundreds on his peregrinations about his own garden—commonplace things which the experienced naturalist has long since got utterly tired of. But has your rash objector ever lighted upon that rare larva which lives among the periwinkles, and exactly imitates a periwinkle petal? Has he ever discovered those deceptive creatures which pretend for all the world to be leaves of lady's-bedstraw, or dress themselves up as flowers of buttonweed? Has he ever hit upon those immoral caterpillars which wriggle through life upon the false pretence that they are only the shadows of projecting ribs on the under surface of a full-grown lime leaf? No, not he; he passes them all by without one single glance of recognition; and when the painstaking naturalist who has hunted them every one down with lens and butterfly net ventures tentatively to describe their personal appearance, he comes up smiling with his great russet woolly bear comfortably nestling upon a green cabbage leaf, and asks you in a voice of triumphant demonstration, where is the trace of concealment or disguise in that amiable but very inedible insect? Go to, Sir Critic, I will have none of you; I only use you for a metaphorical marionette to set up and knock down again, as Mr. Punch in the street show knocks down the policeman who comes to arrest him, and the grimy black personage of sulphurous antecedents who pops up with a fizz through the floor of his apartment.

Queerer still than the caterpillars which pretend to be leaves or flowers for the sake of protection are those truly diabolical and perfidious Brazilian spiders which, as Mr. Bates observed, are brilliantly coloured with crimson and purple, but 'double themselves up at the base of leaf-stalks, so as to resemble flower buds, and thus deceive the insects upon which they prey.' There is something hideously wicked and cruel in this lowest depth of imitative infamy. A flower-bud is something so innocent and childlike; and to disguise oneself as such for purposes of murder and rapine argues the final abyss of arachnoid perfidy. It reminds one of that charming and amiable young lady in Mr. Robert Louis Stevenson's 'Dynamiter,' who amused herself in moments of temporary gaiety by blowing up inhabited houses, inmates and all, out of pure lightness of heart and girlish frivolity. An Indian mantis or praying insect, a little less wicked, though no less cruel than the spiders, deceives the flies who come to his arms under the false pretence of being a quiet leaf, upon which they may light in safety for rest and refreshment. Yet another abandoned member of the same family, relying boldly upon the resources of tropical nature, gets itself up as a complete orchid, the head and fangs being moulded in the exact image of the beautiful blossom, and the arms folding treacherously around the unhappy insect which ventures to seek for honey in its deceptive jaws.

Happily, however, the tyrants and murderers do not always have things all their own way. Sometimes the inoffensive prey turn the tables upon their torturers with distinguished success. For example, Mr. Wallace noticed a kind of sand-wasp, in Borneo, much given to devouring crickets; but there was one species of cricket which exactly reproduced the features of the sand-wasps, and mixed among them on equal terms without fear of detection. Mr. Belt saw a green leaf-like locust in Nicaragua, overrun by foraging ants in search of meat for dinner, but remaining perfectly motionless all the time, and evidently mistaken by the hungry foragers for a real piece of the foliage it mimicked. So thoroughly did this innocent locust understand the necessity for remaining still, and pretending to be a leaf under all advances, that even when Mr. Belt took it up in his hands it never budged an inch, but strenuously preserved its rigid leaf-like attitude. As other insects 'sham dead,' this ingenious creature shammed vegetable.

In order to understand how cases like these begin to arise, we must remember that first of all they start of necessity from very slight and indefinite resemblances, which succeed as it were by accident in occasionally eluding the vigilance of enemies. Thus, there are stick insects which only look like long round cylinders, not obviously stick-shaped, but rudely resembling a bit of wood in outline only. These imperfectly mimetic insects may often obtain a casual immunity from attack by being mistaken for a twig by birds or lizards. There are others, again, in which natural selection has gone a step further, so as to produce upon their bodies bark-like colouring and rough patches which imitate knots, wrinkles, and leaf-buds. In these cases the protection given is far more marked, and the chances of detection are proportionately lessened. But sharp-eyed birds, with senses quickened by hunger, the true mother of invention, must learn at last to pierce such flimsy disguises, and suspect a stick insect in the most innocent-looking and apparently rigid twigs. The final step, therefore, consists in the production of that extraordinary actor, the Xeroxylus laceratus, whose formidable name means no more than 'ragged dry-stick,' and which really mimics down to the minutest particular a broken twig, overgrown with mosses, liverworts, and lichens.