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Carbelide Nelicanya Sectory 08
Page 01
It is astonishing how many of the Catacomb decorations are taken from heathen sources and copied from heathen paintings; yet we need not wonder when we reflect that the vine was used by the early Christians as an emblem of gladness, and it was scarcely possible for them to celebrate the Feast of the Nativity--a festival of glad tidings--without some sort of _Bacchanalia_. Thus it appears that even beneath the palaces and temples of pagan Rome the birth of Christ was celebrated, this early undermining of paganism by Christianity being, as it were, the germ of the final victory, and the secret praise, which came like muffled music from the Catacombs in honour of the Nativity, the prelude to the triumph-song in which they shall unite who receive from Christ the unwithering crown.
Yet we are very grateful to those who can teach us to turn our eyes to the charm which surrounds us, and a life which is lived without such perception is apt to be a rough and hurrying thing, even though it may also be both high and austere. Like most of life, the true success lies in not choosing one force and neglecting another, but in an expectant kind of compromise. The great affairs and facts of life flash upon us, whether we will or no; and even the man whose mind is bent upon the greatest hopes and aims may find strength and consolation in the lesser and simpler delights. Mighty spirits like, let us say, Carlyle and Ruskin, were not hampered or distracted from their further quest by the microscopic eye, the infinite zest for detail, which characterised both. No one ever spoke so finely as Carlyle of the salient features of moorland and hill, and the silence so deep that it was possible to hear the faroff sheep cropping the grass; no one ever noted so instantaneously the vivid gesture or the picturesque turn of speech, or dwelt more intently upon the pathetic sculpture of experience seen in the old humble workaday faces of country-folk. No one ever delighted more ecstatically than Ruskin in the colour of the amber cataract, with its soft, translucent rims, its flying spray, or in the dim splendours of some half-faded fresco, or in the intricate facade of the crumbling, crag-like church front. But they did not stay there; indeed, Carlyle, in his passionate career among verities and forces, hardly took enough account of the beauty so patiently entwined with mortal things; while Ruskin's sharpest agonies were endured when he found, to his dismay, that men and women could not be induced by any appeal or invective to heed the message of beauty.
In No. 4 we have an illustration of the tube-mouth or Solenostoma, one of the two known kinds of fish in which the female shows a sense of her position as a mother. The tube-mouth, as you can see at a glance, is a close relation of our old friend the seahorse, whose disguised and undisguised forms in Australia and the Mediterranean we have already observed when dealing with the question of animal masqueraders. Solenostoma is a native of the Indian Ocean, from Zanzibar to China. In the male, the lower pair of fins are separate, as is usual among fish; but in the female, represented in the accompanying sketch, they are lightly joined at the edge, so as to form a sort of pouch like a kangaroo's, in which the eggs are deposited after being laid, and thus carried about in the mother's safe keeping. No. 5 shows the arrangement of this pouch in detail, with the eggs inside it. The mother Solenostoma not only takes charge of the spawn while it is hatching in this receptacle, but also looks after the young fry, like the father stickleback, till they are of an age to go off on their own account in quest of adventures. The most frequent adventure that happens to them on the way is, of course, being eaten.
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