Читать книгу: «A Book of Nimble Beasts», страница 7

And yet it was his rush that saved him.

"Don't rush!" the Pygmy screamed behind

The crumbled earth which still lay in the bolt-hole, melted before it. Part slipped to either side of him. Part massed before his plunging head, and, reaching the clear downshaft, dropped. With it there dropped a stone—a rounded half-inch stone, which danced along the gallery at the foot, cannoned from side to side of it, spun round and pulled up short, six inches in advance of him. His senses signalled something in his path. His senses signalled a clear passage through it, and a clear space beyond it. His senses urged more pace. So he crashed on. He stubbed his hands against a ring of iron: the ring gave way: there was a snap and two iron jaws had gripped his waist. But for the stone which jammed against the clinch of them, he must have met his death. And death itself had scarcely brought more torture. It was as though the half of him sped on while half remained behind. The back wrench left him senseless, and so the Pygmy found him. It was the pit-pat of her on his fur, the cobweb flutter of her questionings, which roused him back to life.

His Fortress, his own Fortress, had been breached

"I'm done," he muttered, "done as sure as sure."

"Not you!" she answered bravely, "the trap's not closed—not half. Wriggle, dear Uncle, wriggle!"

And Bartimæus wriggled.

He wriggled right; he wriggled left; he wriggled up; he wriggled down; he brought his hands to bear upon the iron and with a supreme twist he wriggled free.

Then he saw red.

He flung himself against the trap, and bit at it, and scratched at it, and shook it with his shoulders, and heaved and strained and wrenched at it, until it lay upturned upon the surface. He was convulsed with windy gusts of rage: nose-tip to tail he boiled; nor did he gain composure until the field was far behind, and he had reached the smooth-faced tube which led to his own fortress. Hand over foot he sped the length of it, dived down the U-shaped entrance hole, bobbed up again and climbed into his nest.

His troubles were not over.

His fortress, his own fortress, had been breached. The nest lay open to the day, windswept.

For a full hour he toiled repairing it, then, mole-tired, coiled to sleep.

SOMETHING ABOUT A CHAMÆLEON
(NOVEMBER)

 
"''Tis green! 'tis green, Sir, I assure ye.'
'Green!' cries the other in a fury.
'Why, Sir, d'ye think I've lost my eyes?'
''Twere no great loss,' the friend replies,
'For if they always serve you thus,
'You'll find them but of little use.'"
 

I WONDER how many of you know these lines? Not so very long ago most young people used to have to learn the poem from which they are taken, but I don't think the poem can be quite such a favourite as it used to be. Perhaps we are all getting to be such good naturalists that we know it is not quite true, for, though Chamæleons change their colours in a very wonderful way, they do not go red, white, and blue, in the way which the poem makes out.

I think I must tell you a little story about a Chamæleon, though some of you may perhaps have heard it before. An old lady once had a pet Chamæleon which she was very fond of, and which her manservant, John, used to look after. He was very fond of the Chamæleon too, and he used to amuse himself by putting it on to different coloured things in his room and watching it change colour. Well, one day, the old lady had a friend to tea, and she thought she would like to show her the Chamæleon, so she rang for John.

"John," she said, "bring in the Chamæleon."

John looked very sorry for himself. "Please ma'am," he said, "I can't."

"Can't?" said his mistress. "Why not?"

John looked still more confused. "Please, ma'am," he said, "he's gone."

"Why, how is that?" said the lady.

"Well, ma'am, I was playing with him, and I put him against my baize apron, and he turned green."

"Well?"

"And then I put him against the red tray, ma'am, and he turned red."

"Yes, yes! Of course he would."

"And then I put him against your tartan plaid, ma'am, and—and he just bust hisself."

You can see his Eye looking back over his Shoulder in this Picture

I am afraid that that story is not altogether true either.

I must try to explain to you how a Chamæleon changes colour. Of course you all know that there are black men, and brown men, and copper-coloured men, and yellow men, and what we call white men; and you know, too, that among white men some have much darker skins than others.

Now the colour of people depends a little on the colour of their blood, for there is a network of tiny veins in the lower part of their skin, but it depends even more on millions of little specks of yellowish and brownish paint which lie in the upper part of their skin. A negro may be as black as your hat outside, but his blood is red all the same, and he looks black because the little specks of paint in the upper part of his skin are very dark and hide the red blood behind them. When people change colour it is because for one cause or another the colour of their blood can be more plainly, or less plainly, seen; and, when this cause is taken away, their old colour returns, for the little specks of paint have not altered in themselves at all.

You can see his Hands and Feet well in this Picture

In Chamæleons, however, and several other creatures, which change colour much more than we do, and keep their changed colour for quite a long time, the specks of paint lie in the lower part of the skin, and often there are numbers of them clustered together as if they had been pressed down tight into little bags. These clusters of paint specks have the power of branching out like sea anemones, and afterwards pulling themselves together again like sea anemones when they are frightened. When they are spread out so as to be as large as possible, the Chamæleon is dark-coloured; and when they are drawn in so as to be as small as possible, the Chamæleon is light coloured; and when, as is really most usual, they are spread out in one part of his body and drawn in in another, the Chamæleon is piebald. I expect you will be curious to know what colour the specks of paint are, and whether they are always the same. They are so small that one needs a powerful microscope to see them; but, as far as we can tell, they are always brownish or reddish, so that the greens and blues which are often to be seen in patches on a Chamæleon have to be accounted for in some other way. It would take too long to explain the blues and greens to you thoroughly, but I think I can give you one little hint about them. You all know what mother-of-pearl looks like. If you hold a piece one way it seems a dull grey all over, but if you hold it another you see all the colours of the rainbow, and you can even make the colours move about it if you handle it properly. Now if the colours were paint they would not move about, though they might not be so bright in some positions as in others, and for the present you must be satisfied to know that a Chamæleon skin, besides holding clusters of paint-specks which change their shape, is so wonderfully made that it can show mother-of-pearl colours as well.

A grown-up Chamæleon is usually greenish in the daytime, with brown patches on his sides. When he goes to sleep at night he turns cream-coloured and his patches become yellowish. A baby Chamæleon is snowy white, and doesn't get spotted even when he is angry or excited, as a grown-up Chamæleon always does.

Now for the Chamæleon pictures. First you must notice his eyes. He has enormous eyeballs, but instead of having two eyelids to each, as we have, he has one eyelid to each (it is really made up of two stuck together), with a tiny round hole in the centre for his eye to look through. This is queer enough, but there is something even queerer about a Chamæleon's eyes. He can move either eyeball up or down or sideways, but he hardly ever moves both the same way, so that he has quite the most wonderful squint in the world, and often keeps one eye looking over his shoulder while the other looks straight in front of him.

Next you must look at his long, skinny arms and legs, and especially at his hands and feet. Like ourselves he has five fingers or toes on each, but they are differently arranged from ours. You must remember, of course, that our thumbs are really fingers. On each hand a Chamæleon has three thumbs and two fingers, and on each foot he has two great toes and three ordinary toes.

THE TRAIL OF NIMBLE BEASTS
(DECEMBER)

Top Row         Nuts gnawed by    Meadow Mice

Second Row              "                      Dormice

Third Row                  "                     Field Mice

I AM going to end the articles in this book by telling you how you may best see for yourselves some of the queer creatures which I have photographed, for the real beasties are far, far more interesting than any photographs of them can be, and they are not so very difficult to see if only you go the right way about it. I think the Winter is as good a season as any to begin in, at any rate with the fur-folk, for there is sure to be plenty of mud, which is a splendid thing for footprints to show up on, and there may be a fall of snow, which will tell you more in a day of the coming and goings of your little brothers, than you could learn without it in a year.

If you put on your thickest boots and go out into the fields and along the hedgerows, after a heavy snowfall, you will find thousands and thousands of footprints. Most of these will be the footprints of birds, but some, you will see at once, belong to four-footed creatures. I am showing you pictures of some of the commonest of these so that you may know them the next time you see them. I have left out Bunny-Rabbit on purpose, because I think you will be able to find out what his curious footprints are like for yourselves, and will remember them better that way.

The Weasel's Trail

We will begin with the Weasel's trail in the picture on the opposite page. You will see that there are two different looking trails showing, but they both belong to the same weasel. The reason they look so different is that one set are fresh and the other set are a day old. There has been a slight thaw, and this has melted the snow so that the oldest trail has fallen in a little. All the trails lead to a woodpile, and I used, after the snow had all gone, to go to that woodpile in the evening and wait for the weasel to come out, and watch him play, which he always did for some time before he started hunting.

Where the Weasel met the Mice

The mice had made quite a beaten track from one hole to another—this you can see at the top of the picture. The other tracks are the weasel's, except one, which shows the imprint of a mouse-tail

It was quite exciting to follow that little Weasel's trail in the snow. I came to where he had startled a moor-hen and to where he had startled a rook, and to where he had had a splendid game chasing mice. I am showing you a picture of this, and you will notice at once the line down the centre of one of the tracks, which is made by Mousey's tail. Another of the pictures shows you two mouse-tracks running to separate mouse-holes, which I was very glad to know about, and which I don't think I should ever have seen but for the tell-tale snow. A Rat's track is much the same, only larger; and a Stoat's track is the same as a Weasel's, only larger. A Hedgehog does not often come out in the snow, but he does sometimes and leaves a very smudgy track behind him, for he drags his fur along the ground.

Where The Weasel met the Rook

You can see where the Rook's wing hit the snow

Two Mouse Trails leading to holes in the snow

Snow shows one much more than mud, but, unless it is of just the right softness the prints in it are apt to be splodgy, and I don't think you ever get so perfect a track in snow as you sometimes do in mud. The pictures of the Vixen's and the Otter's footprints will show you what I mean. A Vixen's footprints are smaller than a Fox's, and a Fox's footprints are smaller than most people think, indeed a Fox is a smaller animal than most people think. I have a little wire-haired terrier whose footprints are much larger than those of a Vixen. At the same time it is not very easy to distinguish a Fox's track from that of a small dog. Generally a Dog's claws make their mark as well as the pads, and this does not often happen with the Fox; but I think a better way of telling the difference is to remember that a Fox's pads are more oval-shaped than a Dog's. You will always, I think, be able to tell an Otter's footprints (some people call them the Otter's seal) by their size, and by their leading to or from the water. Usually the claws can be clearly traced and sometimes the webbing of the feet as well. I have never seen clean-cut Badger's footprints—all I have met with have been very broad and splodgy, more smears than patterns—and I have never seen a Marten's trail at all.

The Fox's Footprints

Footprints tell us a good deal of what is going on about us, and so do "runs" in the grass, and "runs" in the hedges. But, of course, there are other things to be looked for. Often one finds the remains of beasties' meals, nuts for instance. Nuts with clean-cut round holes in them have been gnawed by Dormice, nuts with jagged holes by Red Meadow Mice and Wood Mice, nuts split clean in half most likely by Squirrels. Otters leave half-eaten fish about sometimes, and scattered broken eggshells tell you where Stoats have been running the hedgerow. If you notice where you find these things and keep your eyes open, you are sure in time to see what you are looking for.

And the last thing that Winnie remembers was the Great Green Grasshopper's Wife hurrying the little Skipjacks off to bed.

THE GREAT GREEN GRASSHOPPER'S BAND
(CHRISTMAS DAY)

"I BEG your pardon!" said the Great Green Grasshopper's wife.

"I think I ought to beg yours," said Winnie politely.

Perhaps, however, you would like me to begin at the very beginning. Very well, then; but you must remember that, for most of it, I can only tell you what Winnie told me. It all seems to have happened between Christmas Eve and Christmas Day. On Christmas Eve, our Cricket, who lives in the kitchen behind the hot-water pipes, had started chirruping as usual, and I had gone into the library, and hunted out an old, old Christmas book and started reading to my small friends a story which began with a cricket singing against a tea-kettle. Then we had had a snapdragon, and then the waits had come round, so everything had been as Christmassy as ever it could be. Just as the waits finished Winnie had got into bed and snuggled herself up. All this I can vouch for myself, for I was there all the time, and I can remember how good the snapdragon was, though I did not eat quite so many raisins as one little girl. However, as she said afterwards, "Even if I did eat thirty, Father, it was quite worth it."

So much for the true part of the tale—now for the magic. Winnie tells me that she never went to sleep at all! The waits and the cricket and the snapdragon and the kettle were all mixed up in her head, and the snapdragon had turned hungry and was trying to snap up the waits, and the kettle was puffing like a little traction engine, and in between the puffs there was a sad little chirrupy sound which she thought must be the cricket. It seemed only kind then that she should slip out of bed, listen on the landing, and creep down to the kitchen to see how the cricket was getting on. She found him sitting on the hearthstone and watching the people in the fire going to church.

Winnie tells me that She never went to sleep at All!

"I can't attend to you now," he said, "I'm just going out."

Winnie had half expected him to speak, but she was a little frightened all the same, and a little curious too.

"Do take me with you," she said. "Where are you going?"

"Where am I going?" said the Cricket in a surprised tone. "Why, it's Christmas Eve!"

"Yes, isn't it lovely!" said Winnie; "and to-morrow there'll be presents. But where are you going?"

"I'm going to be a wait, of course," said the Cricket. "I've been practising all the evening. Listen!"

He ducked his head and lifted up his wings, and a chirrup fluttered out of them and ran all round the dresser. It was a chirrup! It wriggled in between the plates and dived into the soup-tureen, and climbed the tea-cup handles, and danced upon the saucers, until the sour deal boards, which had had all the softness scrubbed out of them (and were cross-grained to begin with), felt little thrills of pleasure running down their backs. Then it climbed up the wall and rattled the dish-covers, and at last it died away with a little squeak inside the coffee-pot.

"What do you think of that?" said the Cricket triumphantly.

"It's beautiful," said Winnie; "but where are you going?"

"You'll see presently," said the Cricket; "and I wish you wouldn't chatter so. You nearly made me forget him."

The Cricket was sitting on the Hearthstone watching the People in the Fire going to Church

"Forget who?" said Winnie.

"Our drummer," said the Cricket. "Keep still—I heard him a minute ago."

There was a long pause—so long that Winnie almost screamed, for there was nothing but the clock-tick to listen to.

Then something joined the clock-tick—One-two-three-four, pit-tip, tip-pit, one-two-three-four, pat-tap, tap-pat (just like soldiers a long way off, as Winnie explained), and presently the drummer himself appeared. He was a very small, squat, round-shouldered beetle, and he came out of a hole in the beam which ran across the ceiling.

The Pair of Them dropped … on to the Edge of the Kitchen Table

"What a nuisance it all is!" he yawned. "I was just going off to sleep when I heard you. Is there no one else who can drum?"

"No one who can drum like you," said the Cricket, which is far the best way to answer these questions.

"Very well," said the Beetle, "but my wife must come too," and the pair of them dropped with two little flops on to the edge of the kitchen table. Then the clock chimed in—one-two-three-four, right away up to eleven.

"Shall I come too?" said a mean little oily voice from under the coal-scuttle. Winnie could just see the Cockroach's whiskers making quivery passes in the air, and she sat down and drew her nightie round her feet as tight as ever she could. She was quite relieved to hear the Cricket's answer.

"Of course not," he said; "you never played anything in your life."

"It's all the same to me," said the Cockroach. "I've given up those silly meadows long ago. Good-night, lunatics!" and he drew his whiskers in and disappeared.

"Was that eleven?" said the House Cricket, taking no notice of his rudeness. "We've no time to lose then. Come along!"

Winnie climbed up on his back as if it were the most natural thing in the world, and the two Beetles climbed up behind her. The drummer Beetle started playing at once—one-two-three-four, pit-tip, tip-pit; one-two-three-four, pat-tap, tap-pat—and the whole four of them sailed up the chimney. It was not hot (as Winnie explained), for the fire had burnt very low and that was what had beaten the kettle, but it was sooty, and she remembers quite well longing to see the clean, white snow on the roof. The Cricket went up crab-wise—a little jump to one side and a little jump to the other; so he took quite a long time to reach the chimney-pot, and when he crawled on to the edge of it the snow was all gone. ("That was the queerest thing of all, Father," said Winnie "there were leaves and flowers and sunshine, and it was just like summer.")

"Now hold tight," said the Cricket, "while I unpack my wings."

This was quite a long business, for the Cricket had to keep moistening his fingers, and Winnie and the Beetles had to keep crawling up and down his back, so as not to be in the way. At last everything was ready, and the Cricket poised himself on the edge of the chimney, spread his wings wide apart, and slid into the air. Winnie was just a little frightened at first, and she put her head down close to the Cricket's neck and shut her eyes and dug her fingers into the chinks of his back; but presently she felt that it was no good being frightened, for they were going quite smoothly, and the Cricket's wing-covers were high up on either side of her, so that she could hardly have fallen off if she had tried to. Soon she felt brave enough to raise her head very carefully and look about her. The kitchen chimney was some way behind, the great elm on her left, and the river close in front. Just before they reached the river the Cricket's wings buzzed like blue-bottles, and she felt they were going upwards. Then came another long, gentle glide, and the Cricket landed on the blackberry hedge at the bottom of the meadow.

"You must all get off here," he said.

Winnie stepped off his back on to a slippery thorn, missed her footing, and fell on the top of the Great Green Grasshopper's wife.

"I beg your pardon!" said the Great Green Grasshopper's wife.

"I think I ought to beg yours," said Winnie politely—which is where the story began some time ago.

"I beg your Pardon," said the Great Green Grasshopper's Wife

The Great Green Grasshopper's wife was more amused than offended.

"Don't mention it," she said. "I suppose you've come to help us, and I'm very glad to see you. It is really most unfortunate, but I couldn't possibly let my husband come—the first Christmas Eve he has missed for years—but, as I said to him, 'If your leg's frostbitten, you're much better in your hole.' Don't you agree with me?"

"Oh, yes, I think so," said Winnie, who felt she must say something.

"Of course we shall miss him very much," said the Great Green Grasshopper's wife, "but if the Field Cricket isn't too nervous, I dare say we shall pull through. I see you have brought our drummer with you, and here is the Mole Cricket coming up, and the Wood Cricket, and I saw the Bush-cheeps a moment ago. Do you really mean to tell me that you have never met any of them? Then I must introduce you. This is the Mole Cricket. You can't ever mistake him if you have once seen his feet; and this is the Field Cricket—you can't mistake a blackamoor like him either; and this is the Wood Cricket with the check trowsers; and the Bush-cheep always wears a brown tail-coat and a greeny waistcoat. Now you all know each other and we must get to work. What do you play?"

Winnie had been getting a little uneasy all this time, for the Crickets had been unpacking their instruments and making little scrapes just like the band before the pantomime, and she had felt that she would be expected to do something too, and had made up her mind as to what she would say if she were asked.

"I can play a grass-blade a little," she said.

"Well, there's lots of grass about," said the Great Green Grasshopper's wife. "Let's hear you do it."

So Winnie picked a big blade of grass and jammed it tight between the balls of her thumbs and pressed her lips hard against it and began to play. The first note sent the Great Green Grasshopper's wife's hind legs straight up in the air, turned the Mole Cricket and the House Cricket and the Wood Cricket and the Bush-cheeps head-over-heels, and drove the Field Cricket into his hole.

"Easy, easy!" said the Great Green Grasshopper's wife. "You nearly blew my tail off. Can't you play more softly?"

THIS IS THE MOLE CRICKET

"I'll try," said Winnie.

"Please do," said the Great Green Grasshopper's wife. "There, I knew what would happen. See what you've done."

This is the Field Cricket

The Field Cricket had all but disappeared, and there were only two little black legs sticking out of his hole.

"It's no use your trying to play in there," said the Great Green Grasshopper's wife. "Nobody will hear you at all."

"I can't help it," said the Field Cricket; "my nerves are completely upset."

"See what you've done," said the Great Green Grasshopper's wife again. "It will take him twenty minutes to recover."

And she was quite right. For twenty long minutes they had to wait and look at one another, and even at the end of that time the Field Cricket still seemed very shaken.

"I will do my best now," he said at last, "but I simply must have my head hidden." He had backed out of his hole a little way and lifted up his wing-covers. Every now and then he chirruped softly.

And this is the Wood Cricket

"Well, it's better than nothing," said the Great Green Grasshopper's wife, "and you certainly have some excuse this time. Now let's begin." She climbed a little higher in the hedge, tapped sharply with one hind leg, and looked about her.

"Are you all ready?" she said. "Drums?"

"Here!" said the Beetles.

"First violin?"

"Here!" said the Field Cricket.

"Second violin?"

"Here!" said the House Cricket.

"Viola?"

"Here!" said the Wood Cricket.

"'Cello?"

"Here!" said the Mole Cricket.

"Flutes?"

"Here!" said the Bush-cheeps.

"Grass-blade?"

"Here!" said Winnie, screwing her lips up very tight.

"Good!" said the Great Green Grasshopper's wife, and she reared herself up backwards and began to beat time with her hind legs.

"Two bars first," she said. "Now!"

At the third bar they all came in very fairly together, but before they had played half a minute the Great Green Grasshopper's wife stopped short.

("It was really worse than the real waits," Winnie explained. "It was like a million little glass stoppers being squeaked out of bottles—and they didn't seem to mind the time a bit.")

The Great Green Grasshopper's wife looked at Winnie quite severely.

"I asked you to play softly," she said; "you're drowning the whole band."

The First Note sent the Great Green Grasshopper's Wife's Hind Legs straight Up in the Air

"I can't play more softly than that," said Winnie.

"Well, there's only one thing to be done then," said the Great Green Grasshopper's wife. "I must hunt up the Skipjacks."

The Skipjacks are the little grasshoppers who live in the fields, and it takes quite a number of them to play a tune that you can hear.

He had Backed Out of His Hole a Little Way and Lifted up His Wing-covers

"Wait for me here," said the Great Green Grasshopper's wife; "I sha'n't be long!" And she leapt like a jump-jim-crow and landed three yards clear of the hedge.

She really was some time away, but at last she reappeared driving the Skipjacks in front of her.

"It is so troublesome to keep them straight," she explained; "the little idiots! Look at them."

The Great Green Grasshopper's Wife Reared Herself up Backwards and began to beat Time with her Hind Legs

They certainly were a queer flock to manage, for they could only move by jumps, and when they jumped even they themselves had no idea of where they were jumping to. However, by driving them in front of her she managed to keep a few of them together, and at last she got them into their places.

"You must fiddle," she said, "as you never fiddled before. The band shall not be beaten by a grass-blade. Now altogether—one, two, three, four!"

It was really much better that time, and though Winnie could not pick up the tune, everybody else seemed quite pleased with themselves.

"That's better!" said the Great Green Grasshopper's wife. "Now again!"

But before the words were out of her mouth the great hall clock chimed in, Ting—Ting—Ting—Ting——

"Midnight!" screamed the Great Green Grasshopper's wife. "What will become of us?"

Ting—Ting—Ting—Ting——

"It's fast!" cried Winnie: "I know it's fast. I put it on myself for getting up tomorrow."

"Are you quite sure?" said the Great Green Grasshopper's wife.

"Quite sure," declared Winnie; "it's five minutes fast at least."

"That's a great relief to my mind," said the Great Green Grasshopper's wife; "but, of course, we must stop at once."

Indeed, the Crickets were already packing up their instruments, and the last thing that Winnie remembers was the Great Green Grasshopper's wife hurrying the little Skipjacks off to bed.