Less secretive than communicative in most of his ways, the hog is nevertheless an enigma as regards his natural term of life. Not that for a moment his native modesty forbids his announcing his age, or that his lease of life equals that of Epimenides, but that, owing to circumstances over which he has no control,—the greed and voracity of man,—he is handicapped from proclaiming the full extent of his longevity. "The natural age of a hog's life is little known," observes the learned Hampshire rector-naturalist; "and the reason is plain—because it is neither profitable nor convenient to keep that turbulent animal to the full extent of its time." The man were a dolt who would take exceptions to White's natural-history observations, so lucidly and delightfully set forth in the pages of "Selborne." And yet, so great was his sympathy for all animals and dumb creatures, may not the term "turbulent" have been possibly a slip of the pen or fault of the types for "buoyant" or "complacent," with no malice prepense, as in the case of Spenser and the generality of the poets?
His bonhomie and engaging nature are seldom considered, unless by a few humanitarians or interested trainers of animals. Yet what possibilities does he not present as a companion to man, were man not so eager for his slaughter, and were he to receive the same encouragements as the cat and the dog! A case is cited by Frank Buckland of a hog at Guildford that followed its master daily on his walks, and whose instinct, agility, and affection could be equalled only by the canine species. Hamerton also mentions a wild boar in France which became domesticated and regularly accompanied his master to the village church and would not be excluded, but came at last, by the toleration of the curé, to hear mass like a Christian, till finally he grew to an alarming size and was sold to a travelling menagerie. The hog has been known in numerous instances to set and retrieve various kinds of game with an intelligence equal to that of the most blue-blooded pointer or setter, and even to exceed the canine species in acuteness of scent and staunchness. A wager was once made in England that with a hog trained on game the owner could kill more grouse on the moors than either of his two competitors with their dogs, the result being considerably in favour of the challenging party.
"If the pig had wings and could soar above the hedges," says an appreciative writer in the old German "Kreuterbuch," "he would be regarded as the best and most magnificent of fowls!" Is he not, moreover, with his boon companion the domestic goose (likewise a douceur of the table when served with applesauce), one of the most reliable of weather prophets, becoming restless and uttering loud cries at the approach of a storm?
In any event, whatever deprivation the non-development of his social qualities may have occasioned, he still shines supreme as a utilitarian, a stimulus to gastronomy, and a promoter of the polite arts. Some there are, perchance, who have cursorily regarded the obligations we owe him as a purveyor of our comforts so far as relates to the hair-brushes, tooth-brushes, and nail-brushes he has kindly provided. The saddler and trunk-maker no doubt appreciate him after a fashion, as did the conscientious bookbinder of old, with whom he figured indirectly as a confrère in belles-lettres. But who among the recipients of his many bounties has paused to consider the inestimable influence he has exercised upon one of the greatest of the romantic or fine arts, without which the most celebrated canvases of the world had never existed, and the art of painting, if not utterly abandoned, must languish of necessity for lack of his bristles to lay on the pigments? For, with the exception of the minute brushes made from the soft fur of the red sable for detail work, he contributes, if not the artist's genius itself, at least the chief vehicle with which it is possible to render it enduring.
One by one he has felt the pictures of Raphael, Titian, Correggio, and Guido pulsate beneath the artist's brush; while later, in another land, he was instrumental in fixing the harmonics of Velasquez's and Murillo's marvellous colouring. He has witnessed the growing fame of Turner and surveyed the miles of glowing flesh that Rubens has painted. With Watteau and Boucher, he has gazed on many a fair shepherdess and pastoral scene, and, with Jacque and Mauve, helped the shepherd drive his fleecy flock. He has basked in the sunny atmosphere of Cuyp, Wynants, and Van der Neer, and watched the radiant face of woman assume a heightened charm through the genius of Lely and Reynolds. He has viewed the frail beauties of the harem with Gérôme, and marked the roseate twilight deepen over Venice with Ziem. A silent spectator of the great pageant of Art, he has beheld Le Brun and Vernet depict the carnage of the battle-field, and Poussin, Claude, and Constable open enchanting vistas of landscape. Contemplating the progress of modern art, he sees Diaz and Daubigny, Bouguereau and Meissonier, Vibert and Verestchagin, Corot and Inness, and how many others! seated upon the throne of undying fame and wielding the sceptre which he himself has supplied.
His illustrious Bristleousness! Were it not for man's ingratitude and his overpowering worth upon the shambles, he would long since have been canonised and figure as the joint symbol of the useful and the romantic arts.
Consider him likewise in his ferine state as most closely related to nature, moving majestically through the fastnesses of his native stronghold, toothed and tushed for war, indigenous and mighty as the oaks which yield him their mast or the trees of the jungles through which he treads. "The jungle path is his as much as the tiger's," writes the Indian sportsman and naturalist, Shakespeare; "the native shikarries affirm that the wild boar will quench his thirst at the river between two tigers, and I believe this to be strictly the truth. The tiger and the boar have been heard fighting in the jungle at night, and both have been found dead alongside of one another in the morning." It was a wild boar that slew Adonis; and by none, not even by Baryé, has the animal been more vividly depicted than by Shakespeare in the warning of Venus:
"'Thou hadst boon gone,' quoth she, 'sweet boy, ere this
But that thou told'st me thou wouldst hunt the boar.
O be advised! thou know'st not what it is