The Heart of Nature; or, The Quest for Natural Beauty

by Sir Francis Edward Younghusband

From the ferns we look to the rest of the forest, and after the first bewilderment at the profusion and variety of vegetation we try to fasten on to a few individuals or types which we can identify as having seen elsewhere in some other part of India or in some palm-house in England. We are in the still, steamy atmosphere of a hot-house, and we are conscious that all round us, growing in luxuriant abundance, are rare and beautiful plants of which a single specimen would be treasured and treated with every fostering care in England. But we sigh to be able to recognise these treasures and make contact between home and this exceptionally favoured region—favoured, that is to say, as regards plant life. From among the giant trees, the bamboos, the palms, the climbers, the shrubs, the flowers, the orchids, we look out anxiously for friends—or at least for acquaintances whom we hope may develop into friends as we meet them again and again on our journeys through the forest.

Of the flowers, the orchids are naturally the first to attract us. They shine out as real gems in the greenery around them. The eye jumps to them at once. Here seems to be something as nearly perfect in colour, form, and texture as it could possibly be. If the orchid is white it is of the purest whiteness, and shines chaste and unsullied amidst its dull surroundings. If it is purple, or pale yellow, or golden-yellow, or rose, or violet, or white, the colour has always a depth and purity which is deeply satisfying. And it seems to be because the waxy texture of these orchids is such a perfect medium for the display of colour that orchids are so exceptionally beautiful. The texture is of the very consistency best adapted for revealing the beauty of colour. And when we pluck a spray of these choice treasures from the forest branch and hold it in the sunlight, we feel we are seeing colour almost in perfection.

The colour and texture are beautiful enough in themselves. But an added attraction in these orchids is their form—the curvature of their sepals and petals, and the wonderful little pitchers and cups and lips and tongues which an orchid exhibits. And the form is no mere geometrical pattern of lines and curves. It is obviously an ingenious contrivance devised for some special purpose. That purpose we now know to be the attraction of insects, who in sucking the orchid's honey will unconsciously carry on their wings or backs the flower's pollen to fertilise another orchid. Though whether the insect in the long centuries by probing at the orchid has forced it to adapt itself to it, or whether the flower has forced the insect to adapt itself to the flower, or whether—as seems most likely—a process of mutual adaptation has been going on century by century, and the flower and insect have been gradually adapting themselves to one another, is still a matter of discussion among naturalists.

We cannot gather an orchid of any kind without marvelling at its intricate construction. And when we are looking at the orchid in its natural surroundings in the forest itself and see the enormous numbers and the immense variety, in size and form and habits, of the insects around the orchid, and think how the orchid has to select its own particular species of insect and cater for that, and the insect among all the flowers has to select the particular species of orchid; and how the insect, whether butterfly or bee or moth or gnat or ant, or any other of the numerous kinds of insect, and the orchid have to adapt themselves to each other—we see how marvellous the mutual adaptation of flower to insect and insect to flower must have been. We see how the particular species of orchid must have chosen the particular species of bee, and the particular species of bee that particular species of orchid, and the bee and orchid set themselves to adapt themselves to one another, the orchid using all the devices of colour, scent, sweetness of honey, to attract the insect, and gradually shaping itself so that the insect can better reach the honey, and the insect lengthening its proboscis and otherwise adapting itself so that it can better secure what it wants. And we see how perfectly—how nearly perfectly—the flower is designed for its purpose.

But what is perhaps most remarkable of all about an orchid is that this marvel of colour and form and of texture of fabric unfolds itself from within a most ungainly, unsightly, unlikely-looking tuber. From shapeless, colourless tubers, which attach themselves to trunks and branches of trees and cling on to rocks, there emerge these peerless aristocrats of the flower-world, finished, polished, immaculate, and reigning supreme through sheer distinction and excellence at every point—and also because theirs is clearly no ephemeral convolvulus-like beauty which will fade and vanish away in a twinkling, but is a beauty intensely matured, strong and deep and firm.

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Of the 450 species of orchids found in the Sikkim Forest, many are very rare. But fortunately the rarest are not the most beautiful in colour and form. Some very beautiful orchids are also very common. The most common are the dendrobiums, of which there are about forty species. The finest and best known is the Dendrobium nobile. It grows in the lower hills and valleys up to 5,000 feet, and also in the plains. The flowers vary both in size and shade of colour; but in Sikkim the sepals and petals are always purple, shading off into white at the base. The tip has a central blotch of very deep purple surrounded by a broad margin of pale yellow or white. This orchid is now very common in English hot-houses, so here is one point of contact with the tropical forest.

The D. densiflorum is equally common and grows in much the same region. It flowers in a dense cluster on a stalk somewhat after the fashion of a hyacinth. The sepals and petals of this beautiful species are of a pale yellow, while the lip is of a rich orange. One of the most charming of the Sikkim dendrobiums has the smell of violets, and the sepals and petals are white-tipped with violet, the stem being sometimes 2 1/2 feet long. Another noteworthy dendrobium is the D. pierardi, whose prevailing colour is a beautiful rose or pale purple.

After the dendrobiums the coelogyne are the most worth noting. The Coelogyne cristata is common at elevations of from 5,000 to 8,000 feet, and flowers during March and April. It has numerous large flowers, which are pure white throughout, with the exception of the lamellae of the lip, which are yellow. It may be seen in flower in March in the orchid-house at Kew. In the forest it grows in such profusion as to make the trunk of a dead tree look as if it were covered with snow.

The C. humilis is known as the Himalayan crocus. It grows like a crocus from a pseudo-bulb at elevations from 7,000 to 8,500 feet, and flowers during February and March. The flowers are white and from 2 to 2 1/2 inches in diameter. The lip is speckled with purple towards the edge.