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The Orang cannot put its feet flat on the ground, but is supported upon their outer edges, the heel resting more on the ground, while the curved toes partly rest upon the ground by the upper side of their first joint, the two outermost toes of each foot completely resting on this surface. The hands are held in the opposite manner, their inner edges serving as the chief support. The fingers are then bent out in such a manner that their foremost joints, especially those of the two inner-most fingers, rest upon the ground by their upper sides, while the point of the free and straight thumb serves as an additional fulcrum.

If we were to try to guess--without knowing the facts--what means the male animals make use of to overcome their rivals in the struggle for the possession of the female, we might name many kinds of means, but it would be difficult to suggest any which is not actually employed in some animal group of other. I begin with the mere difference in strength, through which the male of many animals is so sharply distinguished from the female, as, for instance, the lion, walrus, "sea-elephant," and others. Among these the males fight violently for the possession of the female, who falls to the victor in the combat. In this simple case no one can doubt the operation of selection, and there is just as little room for doubt as to the selection-value of the initial stages of the variation. Differences in bodily strength are apparent even among human beings, although in their case the struggle for the possession of the female is no longer decided by bodily strength alone. Combats between male animals are often violent and obstinate, and the employment of the natural weapons of the species in this way has led to perfecting of these, e.g. the tusks of the boar, the antlers of the stag, and the enormous, antler-like jaws of the stag-beetle. Here again it is impossible to doubt that variations in these organs presented themselves, and that these were considerable enough to be decisive in combat, and so to lead to the improvement of the weapon.

So, it seems to me, is the immortality we so glibly predicate of departed artists. If they survive at all, it is but a shadowy life they live, moving on through the gradations of slow decay to distant but inevitable death. They can no longer, as heretofore, speak directly to the hearts of their fellow-men, evoking their tears or laughter, and all the pleasures, be they sad or merry, of which imagination holds the secret. Driven from the marketplace they become first the companions of the student, then the victims of the specialist. He who would still hold familiar intercourse with them must train himself to penetrate the veil which in ever-thickening folds conceals them from the ordinary gaze; he must catch the tone of a vanished society, he must move in a circle of alien associations, he must think in a language not his own.

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