Men's hearts instinctively go out to Nature, and in consequence they see Beauty in her. As children they love flowers and love animals. And the most primitive races have the same feeling though they are just as callous in their treatment of animals as children are in their treatment of one another. In the more cultured races this instinctive love of Nature and appreciation of Natural Beauty has enormously developed. But if men ever came to hold the idea—as so many since the doctrine of the survival of the fittest has come into prominence are inclined to do—that Nature is at heart cold and hard, and recks nothing of human joys and sorrows, then love of Nature would fade away from men's hearts. Being out of sympathy and repelled from entering into deep communion with her, men would never again see Beauty in her. The enjoyment of Natural Beauty would pass from them for ever.
So the Artist will try to get at the true Heart of Nature. If the Naturalist part of him tells him that at bottom Nature is merciless and unrelenting, utterly regardless of the things of most worth in life; that Nature is indeed "red in tooth and claw"; that all she cares for—all she selects as the fittest to survive—are the merely strongest, the most pushing and aggressive, the individuals who will simply trample down their neighbours in order that they themselves may "survive"; or if, again, the Naturalist convinces him that all he has seen in the forest has come about by pure chance; that it is by a mere fluke that we find orchids and not mushrooms, men and not monkeys, at the head of plant and animal life; and that Nature herself is wholly indifferent as to which of the two establishes its preeminence—then he will feel the chill upon his soul, he will shrivel up within himself, the very fountain-spring of Beauty will be frozen up, and never again will he see Beauty in any single one of Nature's manifestations.
But if, on the other hand, the Naturalist is able to convince the Artist that in spite of the very evident struggle for existence Nature does not care twopence whether the "fittest" survive or not so long as what is best in the end prevails; that far from things coming about by mere chance Nature has a distinct end in view, and that end the accomplishment of what he himself most prizes, then the heart of the Artist will warm to the heart of Nature with a fervour it had never known before; his heart will throb with her heart, and every beauty he has seen in plain or mountain, in flower, bird, or man, will be a hundredfold increased.
Which of these two views of Nature, so far as Nature can be judged from what we see of her on this planet, is correct, he has now to determine. The profound mystery which everywhere prevails in the forest and which exerts such a compelling spell upon us he will want to probe to the bottom. He will not be content with the outward prettiness of butterfly and orchid, or with the mere profusion and variety of life, or with the colossal size of animals and trees. He will want to burrow down and get at the very root and mainspring of this forest life. He will want to reach the very Heart of Nature here manifested in such manifold variety. He will want to arrive at the inner significance of all this variety of life. Then only will he understand Nature and be able to decide whether Nature is cruel and therefore to be feared, or kind and gracious and therefore to be loved.
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Now, when we go into the forest and look into it in detail, the profusion is even greater than we expected. In this damp tropical region where there is ample heat and moisture, plant life comes springing out of the earth with a prolificness which seems inexhaustible. And when plant life is abundant, animal and insect life is abundant also. So profuse, indeed, is the output of living things that it seems simply wasteful. A single tree may produce thousands of flowers. Each flower may have dozens of seeds. The tree may go on flowering for a hundred or two hundred years. So a single tree may produce millions of seeds, each capable of growing into a forest giant like its parent.
With insect life the same profusion of life is evident. A single moth or butterfly lays thousands of eggs. Mosquitoes, flies, gnats, midges, leeches swarm in myriads upon myriads.
The abundance and superabundance of life is the first outstanding—though it will prove not the most important—impression made upon us by a contemplation of the forest as a whole.
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Scarcely less striking than the abundance is the variety. Life does not spring up from the earth in forms as alike one another as two peas. Each individual plant or animal, however small, however simple, has its own distinctive characteristics, There is variety and variation everywhere. Variety in form, variety in colour, variety in size, variety in character and habit. In size there is the difference between the huge terminalia towering up 200 feet high and the tiny little potentilla; between the atlas moth 12 inches in spread and the hardly discernible midges; between the elephant, massive enough to trample its way through the densest forest, and the humble little mouse peeping out of its hole in the ground. In colour the difference ranges from the light blue of the forget-me-not to the deep blue of the gentian; from the delicate pink of the dianthus to the deep crimson of the rhododendron; from the brilliant hues of the orchids to the dull browns and greens of inconspicuous tree flowers; from the vivid light greens, yellows, and reds of the young leaves of these tropical forests to the greyer green of their maturity; from the smiting reds and blues of the most gaudy butterflies, beetles, and dragon-flies to the modest browns of night-flying moths; from the gorgeous colours of the parrots to the familiar black of crows; from the yellow-striped tiger to the earth-coloured hare; from the dark-skinned aborigine to the yellow-skinned Mongolian and the fair European. Similarly do plants and animals vary in form: from the straight pines and palms to the spreading, umbrageous oaks and laurels; from upstanding lilies to parasitical orchids; from monstrous spiky beetles to symmetrical dragon-flies; from ungainly rhinoceros to graceful antelope; from short, sturdy Bhutias to tall, slim Hindustanis. Likewise in character individuals are as different as the strong, firm tree standing open-faced, four-square to all the world and the creeping, insinuating parasite; as the intelligent, industrious ant and the clumsy, plodding beetle; as the plucky boar and the timid hare; as the rough forest tribesman and the cultured Bengali.