“Be a mason, or a shoemaker; your talent lies more in the direction of trade!” It was in truth a pity that Topaz—full-grown ape as he was—should have been the slave of his narrow pride and vanity. That he should have aspired to fill a grand, generous, imposing, humanlike roll. I have often heard him say he would follow the example of the men of the Middle Ages, study medicine among the Arabs; and then return to teach it to the Christians. His foolish ambition was to transmit, from cultured men to apes, the knowledge of art, and, by idealising his fellows in portraiture, to place them on the level of the Lords of Creation. His chagrin was as profound as his project had been visionary. Wounded by the dreadful fall his vanity had sustained, sulky, ashamed, discontented with the world and with himself, Topaz, losing his sleep, appetite, and vivacity, fell into a languishing illness which threatened his life. Happily he had no physician, Nature fought out the battle for herself, and won.
About this time Daguerre, a scenic artist, completed the discovery which has rendered his name famous. He made an important step in science by fixing the photographic image, so that objects, animate and inanimate, might be caught on a silver plate. Thus photography became the handmaid of science and art. I had just made the acquaintance of a musical genius—human—to whom nature had refused both voice and ear; he sang out of tune, danced out of time, and for all that, was passionately fond of music. He had masters for the piano, flute, hunting-horn, and accordion. He tried the different methods of Wilhem, Paston, Cheve, and Jocotot. None of them answered, he could neither produce time nor harmony; what did he do in order to satisfy his taste? He bought a barrel-organ and took his money’s worth out of it, by turning the handle night and day. He certainly had the wrist of a musician.
It was a similar expedient which brought back Topaz to life, with its hopes of fame, fortune, and apostolic insignia. The Jesuits and Turks say the end justifies the means, so, acting on this philosophic saying, Topaz adroitly stole a purse from a rich financier who was sleeping in his master’s studio, while the latter was trying to paint his portrait. With this treasure he bought his barrel-organ, a photographic camera, and learning how to use it, he all at once became artist, painter, and man of science.
This talent acquired, added to a brace of fine names, he felt already half way towards reaching the coveted goal. To realise his hopes, he took his passage at Havre in a ship about to cross the Atlantic, and after a prosperous voyage, again set foot on the shore where, only a few years before, he had embarked for France. What a change had come over his position. From Monkey-boy he had become Monkey-man. In place of a prisoner of war he had become free, and above all, from an ignorant brute—the condition in which Nature sent him into the world—he had developed into a sort of civilised ape. His heart beat fast as he landed on his native soil. It was sweet to visit familiar scenes, after so long an absence. Without losing so much time as I take to write, he started off, camera on back, to seek the grand solitudes of his infancy, where he hoped to become the pioneer of progress. In his secret heart—he owned it to me—there was still the burning desire for fame. He hoped to create a sensation, to be regarded as more than a common beast to enjoy the victory he would so easily win, over the natives of the country, by his title of Illustrious Traveller, backed by his knowledge and his wonderful machine. These were his true sentiments, but he cherished the delusion that he was impelled onwards by the irresistible force which urges forward the predestined ones—the leaders of mankind—to play their part in the world. Arrived at the scene of his birth, without even looking up his friends and relatives, Topaz pitched his camp in a vast glade, a sort of public common which Nature had reserved in the forest. There, aided by a black-faced Sapajo called Ebony, after the other servant of Rustan, who became his slave after the manner of men, who find in colour a sufficient reason for drawing the line which separates master from slave, Topaz set up an elegant hut of branches beneath an ample shade of banana leaves, and above his door he placed a signboard, bearing the fable, “Topaz, painter after the Parisian fashion;” and on the door itself, in smaller letters, “Entrance to the Studio.” After sending a number of magpies to announce his arrival, to all the country round, he opened his shop.
In order to place his services within the reach of all—as no currency had ever yet been instituted—Topaz adopted the ancient custom of receiving payment in kind. A hundred nuts, a bunch of bananas, six cocoa-nuts, and twenty sugar-canes, was the price of a portrait. As the inhabitants of the Brazilian forest were still in the golden age, they knew nothing whatever about property, heritage, or the rights of mine and thine. They knew that the earth and its fruits were free to all, and that a good living might be picked off the trees, and an indifferent living off the ground. Topaz had many difficulties to contend against; by no means the least was the fact that no one is great in his own country, and especially among his own friends. The first visits he received were from monkeys, a quick and curious, but also a very spiteful, race.
Hardly had they seen the camera in action before they set to work to make spurious imitations of the dark box. Instead of admiring, honouring, and recompensing their brother for his toil in bringing this art-treasure to their country, they strove to discover his secret, and reap the profits of his labour. Here, then, was our artist at war with counterfeiters. Happily it was not a simple case of reprinting an English book in Germany or America. The apes might puzzle their brains, and toil with their four feet, and even combine one with the other—amongst them, as elsewhere, one can easily find accomplices to carry out a bad scheme,—all they could do, was to make a box and cover like the camera and focusing cloth of Topaz; but they had neither lens nor chemicals. After many trials and as many failures, they became furious, and planned the ruin of Topaz; thus proving the truth of the saying, “One must look for enemies among one’s fellow-countrymen, friends, and relations; even in one’s own house”—
“Araña; quien te araño Otra araña como yo.”
But no matter, merit makes its own way in defiance of envy and hatred, and finds its true level like oil that rises to the surface of water. It so happened that a personage of importance, an animal of weight, a Boar in fact, passing through the glade and seeing the signboard, paused to reflect. It seemed to this Boar that one need not of necessity be a quack or charlatan, because one comes from a distance, or because one offers something new and startling; also that a wise, moderate, impartial spirit always takes the trouble to examine things before condemning them. Another and much more private reason tempted the thoughtful Boar to test the stranger’s talent; for side by side with the great actions of life there is frequently some petty, contemptible secret, and personal motive which, as it were, supplies the mainspring of action. This little motive is always studiously concealed, even from its owner’s view, like the mainspring of a watch in its shining case. But the little spring, true to its work, marks the time on the dial, the hour, minute, and second, which heralds the birth of all that is noble, and all that is mean in life. This applies with kindred force to the instinct of brutes, and aspirations of men.
Our Boar was a lineal descendant of the companion of Ulysses who, touched by the wand of Circé, is supposed to have addressed his captain thus—
“How am I changed? My beauty as a boar I’ll prove,