Many country towns of recent years have made superhuman efforts to get the railway to their doors. Some have succeeded, some are still trying; in no case has it been accomplished without an immense expenditure, and for the most part these railroad branches are completely in the control of the main line with which they are connected. In one or two cases progress has been effected by means of tramways, notably one at Wantage—an excellent idea and highly to be commended. All these are signs that by slow degrees matters are tending towards some such scheme as has been here sketched out. While local railroads are extremely expensive, slow in construction, and always dominated by main lines, and while tramways need rails, with the paraphernalia rails require, they have this drawback—they are not flexible. The engines and cars that run upon them must for ever adhere to the track: there may be goods, produce, ricks, cows, fruit, hops, and what not, wanting to be landed only a quarter of a mile distant, but the cars cannot go to the crops. The railroad is rigid, everything must be brought to it. From town to town it answers well, but it cannot suit itself and wind about from village to hamlet, from farm to farm, up hill and down dale. The projected road train is flexible and capable of coming to the crops. It can call at the farmer's door, and wait by the gate of the field for the load. We have lately seen France devote an enormous sum to the laying down of rails in agricultural districts, to the making of canals, and generally to the improvement of internal communication in provinces but thinly populated. The industrious French have recognised that old countries, whose area is limited, can only compete with America, whose area is almost unlimited, by rendering transit easy and cheap. We in England shall ultimately have to apply the same fact.
[FIELD SPORTS IN ART.
THE MAMMOTH HUNTER.]
The most ancient attempt to delineate the objects of sport in existence is, I think, the celebrated engraving of a mammoth on a portion of a mammoth's tusk. I call it an engraving because the figure is marked out with incised lines such as the engraver makes with his tool, and it is perfect enough to print from. If it were inked and properly manipulated it would leave an impression—an artist's proof the most curious and extraordinary in the world, for the block was cut with flint instruments by the Cave-men an incredible number of years ago, perhaps before England was separated from the Continent by the sea, while the two were still connected, and it was dry land where now the
Calais-Douvres
steams so steadily over the waves. But it would be an artist's proof with the lights and shades reversed, the lines that sketch the form of the mammoth would be white and the body dark, yet for all that lifelike, since the undulating indentations that represent the woolly hide of the immense creature would relieve the ground. This picture of a prehistoric animal, drawn by a prehistoric artist, shows that Art arose from the chase. Traced to the den of primeval man, who had no Academy to instruct him, no Ruskin to guide, and no gallery to exhibit in, it appears that Art sprang from nature, and not from science. His life was occupied with the hunt, and he represented that which filled his thoughts. Those who understand wild sports will not for a moment doubt that the mammoth was taken in pits or otherwise destroyed despite its huge strength; no matter if it had been twice as large, the cunning of man would have been equal to the difficulty. The mind is the arrow that slays the monster. The greater the danger the greater the interest, and consequently the more the imagination would dwell upon the circumstances of the chase. Afterwards resting in the cave round about the fire and thinking of the mighty work of sport which had been accomplished, the finger of the savage would involuntarily describe the outline of the creature so laboriously captured. His finger might describe it upon the scattered ashes whitening the ground beside him. Or it might describe the outline simply in the air. Speech in its inception was as much expressed by the finger as the tongue; perhaps the fingers talked before the mouth, and in a sense writing preceded language. Uttering the unpolished sound which in their primitive society indicated the mammoth, the savage drew rapidly a figure with his finger, and his companions read his meaning written in the air. To this day it is common for the Italian peasantry to talk with their fingers; a few syllables suffice, illustrated and emphasised by those dexterous hands. A more subtle meaning is thus conveyed than could be put in words. Some of the most ancient languages seem bald and incomplete, too rigid; they need intonation, as it were, to express passion or changes of emotion, and when written the letters are too far apart to indicate what is meant. Not too far apart upon the page, but far apart in their sense, which has to be supplied as you supply the vowels. In actual use such languages must have required much gesture and finger-sketching in the air. The letters of the Egyptians largely consist of animals and birds, which represent both sounds and ideas. Dreaming over the embers of his fire, the Cave-man saw pass before his mental vision all the circumstances of the chase, ending with the crash when the mammoth crushed into the pit, at which he would start and partially awake. Intentness of mind upon a pursuit causes an equivalent intentness of dream, and thus wild races believe their dreams to be real and substantial things, and not mere shadows of the night. To those who do not read or write much, even in our days, dreams are much more real than to those who are continuously exercising the imagination. If you use your imagination all day you will not fear it at night. Since I have been occupied with literature my dreams have lost all vividness and are less real than the shadows of trees, they do not deceive me even in my sleep. At every hour of the day I am accustomed to call up figures at will before my eyes, which stand out well defined and coloured to the very hue of their faces. If I see these or have disturbed visions during the night they do not affect me in the least. The less literary a people the more they believe in dreams; the disappearance of superstition is not due to the cultivation of reason or the spread of knowledge, but purely to the mechanical effect of reading, which so perpetually puts figures and aërial shapes before the mental gaze that in time those that occur naturally are thought no more of than those conjured into existence by a book. It is in far-away country places, where people read very little, that they see phantoms and consult the oracles of fate. Their dreams are real.
The mammoth came through his cave before the embers of his fire—the sleeping savage could touch it with his flint-headed spear—there was the crash as it fell into the prepared pit; he awakes, the dying embers cast shadows on the walls, and in these he traces the shape of the vast creature hastening away. The passing spirit has puffed the charred brands into a second's flame, and thus shadowed itself in the hollow of the cavern.
Deeper than the excitement of the chase lies that inner consciousness which dwells upon and questions itself—the soul of the Cave-man pondered upon itself; the question came to him, as he crouched in the semi-darkness, over the fire which he had stirred, 'Will my form and aërial shadow live on after my death like that which passed but now? Shall I, too, be a living dream?' The reply was, 'Yes, I shall continue to be; I shall start forth from my burial-mound upon the chase in the shadow-land just as now I start forth from my cave. I shall entrap the giant woolly elephant—I shall rejoice at his capture; we shall triumph yet again and again. Let then my spear and knife be buried with me, but chip them first—kill them—that I may use their spirit likenesses in the dream-chase.'
With a keen-edged splinter of flint in the daylight he incised the outlines of the mammoth upon a smooth portion of its tusk—its image was associated with his thoughts of a future life, and thus Art in its earliest inception represented the highest aspirations of man.
But could the ignorant savage of that long-lost day have been capable of such work? The lowest race of savages in Southern Africa—the Bushmen—go about with festoons of entrails wound around their loins. After a successful hunt—with the pit or poisoned arrows—they remove the entrails of the slain animal and wear them like coronals for present ornament and future regalement. These creatures are nevertheless artists. On the walls of caves they have painted the antelope and the lion in bright colours; they have not only caught the shape and hue of the animals about them, but their action and movement. The figures are in motion, skilfully drawn and full of spirit.