White Shadows in the South Seas

by Frederick O'Brien

This is his simplest method, along the line of least resistance, but let the nut be refractory, and he seizes it by the point of a claw and beats it against a rock until he smashes it. This plan failing, he will carry the stubborn nut to the top of the tree again and hurl it to the earth to crack it. And if at first he does not succeed, he will make other trips aloft with the husked nut, dropping it again and again until at last it is shattered and lies open to his claws.

It is said that if a drop of oil be placed on the long and delicate antennae of these crabs they die almost instantly. We have a somewhat similar rumor with respect to salt and a bird's tail. Seldom does a robber crab linger to be oiled, and so other means of destroying him, or, at least, of guarding against his depredations, are sought. With the rat, who bites the flower and gnaws the young nuts, this crab is the principal enemy of the planter. The tree owner who can afford it, nails sheets of tin or zinc around the tree a dozen feet from the earth. Neither rat nor crab can pass this slippery band, which gives no claw-hold. Thousands of trees are thus protected, but usually these are in possession of white men, for tin is costly and the native is poor.

The ingenious native, however, employs another means of saving the fruit of his groves. He climbs the palm-trunk in the daytime, and forty feet above the ground encircles it with dirt and leaves. On his mat for the night's slumber, he smiles to think of the revenge he shall have. For the crab ascends and passes the puny barrier to select and fell his nuts, but when in his backward way he descends, he forgets the curious bunker he went over and, striking it again, thinks he has reached the ground. He lets go, and smashes on the rocks his crafty foe has piled below.

CHAPTER XIV

Visit of Le Moine; the story of Paul Gauguin; his house, and a search for his grave beneath the white cross of Calvary.

I rose one morning from my Golden Bed to find a stranger quietly smoking a cigarette on my paepae. Against the jungle background he was a strangely incongruous figure; a Frenchman, small, thin, meticulously neat in garments of faded blue denim and shining high boots. His blue eyes twinkled above a carefully trimmed beard, and as he rose to meet me, I observed that the fingers on the cigarette were long, slender, and nervous.

This was Monsieur Charles le Moine, the painter from Vait-hua, whose studio I had invaded in his absence from that delightful isle. We sat long over breakfast coffee and cigarettes, I, charmed by his conversation, he, eager to hear news of the world he had forsaken. He had studied in Paris, been governor of the Gambier Islands, and at last had made his final home among the palms and orchids of these forgotten isles. His life had narrowed to his canvases, on which he sought to interpret Marquesan atmosphere and character, its beauty and savage lure.

I said to him that it was a pity many great painters did not come here to put on canvas the fading glamor and charm of the Marquesas.

“Our craft is too poor,” he replied with a sigh. “A society built on money does not give its artists and singers the freedom they had in the old days in these islands, my friend. We are bound to a wheel that turns relentlessly. Who can come from France and live here without money? Me, I must work as gendarme and school-teacher to be able to paint even here. One great painter did live in this valley, and died here—Paul Gauguin. He was a master, my friend!”

“Paul Gauguin lived here?” I exclaimed. I had known, of course, that the great modernist had died in the Marquesas, but I had never heard in which valley, and no one in Atuona had spoken of him. In Florence I had met an artist who possessed two glass doors taken from Madame Charbonnier's house and said to have been painted by Gauguin in payment for rent. I had been in Paris when all artistic France was shuddering or going into ecstacies over Gauguin's blazing tropic work, when his massive, crude figures done in violent tones, filled with sinister power, had been the conversation of galleries and saloons.