Anthropology, Robert Ranulph Marett [romance novel chinese novels txt] 📗

are not to be found nearer home. I can wish the reader no more delightful experience than to run down to Ightham in Kent, and pay a call on Mr. Benjamin Harrison. In the room above what used to be Mr. Harrison's grocery-store, eoliths beyond all count are on view, which he has managed to amass in his rare moments of leisure. As he lovingly cons the stones over, and shows off their points, his enthusiasm is likely to prove catching. But the visitor, we shall suppose, is sceptical. Very good; it is not far, though a stiffish pull, to Ash on the top of the North Downs. Hereabouts are Mr. Harrison's hunting-grounds. Over these stony tracts he has conducted Sir Joseph Prestwich and Sir John Evans, to convince the one authority, but not the other. Mark this pebbly drift of rusty-red colour spread irregularly along the fields, as if the relics of some ancient stream or flood. On the surface, if you are lucky, you may pick up an unquestionable palæolith of early type, with the rusty-red stain of the gravel over it to show that it has lain there for ages. But both on and below the surface, the gravel being perhaps from five to seven feet deep, another type of stone occurs, the so-called eolith. It is picked out from amongst ordinary stones partly because of its shape, and partly because of rough and much-worn chippings that suggest the hand of art or of nature, according to your turn of mind. Take one by itself, explains Mr. Harrison, and you will be sure to rank it as ordinary road-metal. But take a series together, and then, he urges, the sight of the same forms over and over again will persuade you in the end that human design, not aimless chance, has been at work here.

Well, I must leave Mr. Harrison to convert you into the friend or foe of his eoliths, and will merely add a word in regard to the probable age of these eolith-bearing gravels. Sir Joseph Prestwich has tried to work the problem out. Now-a-days Kent and Sussex run eastwards in five more or less parallel ridges, not far short of 1,000 feet high, with deep valleys between. Formerly, however, no such valleys existed, and a great dome of chalk, some 2,500 feet high at its crown, perhaps, though others would say less, covered the whole country. That is why rivers like the Darenth and Medway cut clean through the North Downs and fall into the Thames, instead of flowing eastwards down the later valleys. They started to carve their channels in the soft chalk in the days gone by, when the watershed went north and south down the slopes of the great dome. And the red gravels with the eoliths in them, concludes Prestwich, must have come down the north slope whilst the dome was still intact; for they contain fragments of stone that hail from right across the present valleys. But, if the eoliths are man-made, then man presumably killed game and cut it up on top of the Wealden dome, how many years ago one trembles to think.

Let us next proceed to the subject of palæoliths. There is, at any rate, no doubt about them. Yet, rather more than half a century ago, when the Abbé Boucher de Perthes found palæoliths in the gravels of the Somme at Abbeville, and was the first to recognize them for what they are, there was no small scandal. Now-a-days, however, the world takes it as a matter of course that those lumpish, discoloured, and much-rolled stones, shaped something like a pear, which come from the high terraces deposited by the Ancient Thames, were once upon a time the weapons or tools of somebody who had plenty of muscle in his arm. Plenty of skill he had in his fingers, too; for to chip a flint-pebble along both faces, till it takes a more or less symmetrical and standard shape, is not so easy as it sounds. Hammer away yourself at such a pebble, and see what a mess you make of it. To go back for one moment to the subject of eoliths, we may fairly argue that experimental forms still ruder than the much-trimmed palæoliths of the early river-drift must exist somewhere, whether Mr. Harrison's eoliths are to be classed amongst them or not. Indeed, the Tasmanians of modern days carved their simple tools so roughly, that any one ignorant of their history might easily mistake the greater number for common pieces of stone. On the other hand, as we move on from the earlier to the later types of river-drift implements, we note how by degrees practice makes perfect. The forms grow ever more regular and refined, up to the point of time which has been chosen as the limit for the first of the three main stages into which the vast palæolithic epoch has to be broken up. The man of the late St. Acheul period, as it is termed, was truly a great artist in his way. If you stare vacantly at his handiwork in a museum, you are likely to remain cold to its charm. But probe about in a gravel-bed till you have the good fortune to light on a masterpiece; tenderly smooth away with your fingers the dirt sticking to its surface, and bring to view the tapering or oval outline, the straight edge, the even and delicate chipping over both faces; then, wrapping it carefully in your handkerchief, take it home to wash, and feast till bedtime on the clean feel and shining mellow colour of what is hardly more an implement than a gem. They took a pride in their work, did the men of old; and, until you can learn to sympathize, you are no anthropologist.

During the succeeding main stage of the palæolithic epoch there was a decided set-back in the culture, as judged by the quality of the workmanship in flint. Those were the days of the Mousterians who dined off woolly rhinoceros in Jersey. Their stone implements, worked only on one face, are poor things by comparison with those of late St. Acheul days, though for a time degenerated forms of the latter seem to have remained in use. What had happened? We can only guess. Probably something to do with the climate was at the bottom of this change for the worse. Thus M. Rutot believes that during the ice-age each big freeze was followed by an equally big flood, preceding each fresh return of milder weather. One of these floods, he thinks, must have drowned out the neat-fingered race of St. Acheul, and left the coast clear for the Mousterians with their coarser type of culture. Perhaps they were coarser in their physical type as well.[1]

[Footnote 1: Theirs was certainly the rather ape-like Neanderthal build. If, however, the skull found at Galley Hill, near Northfleet in Kent, amongst the gravels laid down by the Thames when it was about ninety feet above its present level, is of early palæolithic date, as some good authorities believe, there was a kind of man away back in the drift-period who had a fairly high forehead and moderate brow-ridges, and in general was a less brutal specimen of humanity than our Mousterian friend of the large grinders.]

To the credit of the Mousterians, however, must be set down the fact that they are associated with the habit of living in caves, and perhaps may even have started it; though some implements of the drift type occur in Le Moustier itself, as well as in other caves, such as the famous Kent's Cavern near Torquay. Climate, once more, has very possibly to answer for having thus driven man underground. Anyway, whether because they must, or because they liked it, the Mousterians went on with their cave life during an immense space of time, making little progress; unless it were to learn gradually how to sharpen bones into implements. But caves and bones alike were to play a far more striking part in the days immediately to follow.

The third and last main stage of the palæolithic epoch developed by degrees into a golden age of art. But I cannot dwell on all its glories. I must pass by the beautiful work in flint; such as the thin blades of laurel-leaf pattern, fairly common in France but rare in England, belonging to the stage or type of culture known as the Solutrian (from Solutré in the department of Saône-et-Loire). I must also pass by the exquisite French examples of the carvings or engravings of bone and ivory; a single engraving of a horse's head, from the cave at Creswell Crags in Derbyshire, being all that England has to offer in this line. Any good museum can show you specimens or models of these delightful objects; whereas the things about which I am going to speak must remain hidden away for ever where their makers left them—I mean the paintings and engravings on the walls of the French and Spanish caves.

I invite you to accompany me in the spirit first of all to the cave of Gargas near Aventiron, under the shadow of the Pic du Midi in the High Pyrenees. Half-way up a hill, in the midst of a wilderness of rocky fragments, the relics of the ice-age, is a smallish hole, down which we clamber into a spacious but low-roofed grotto, stretching back five hundred feet or so into infinite darkness. Hard by the mouth, where the light of day freely enters, are the remains of a hearth, with bone-refuse and discarded implements mingling with the ashes to a considerable depth. A glance at these implements, for instance the small flint scraper with narrow high back and perpendicular chipping along the sides, is enough to show that the men who once warmed their fingers here were of the so-called Aurignacian type (Aurignac in the department of Haute Garonne, in southern France), that is to say, lived somewhere about the dawn of the third stage of the palæolithic epoch. Directly after their disappearance nature would seem to have sealed up the cave again until our time, so that we can study them here all by themselves.

Now let us take our lamps and explore the secrets of the interior. The icy torrents that hollowed it in the limestone have eaten away rounded alcoves along the sides. On the white surface of these, glazed over with a preserving film of stalactite, we at once notice the outlines of many hands. Most of them left hands, showing that the Aurignacians tended to be right-handed, like ourselves, and dusted on the paint, black manganese or red ochre, between the outspread fingers in just way that we, too, would find convenient. Curiously enough, this practice of stencilling hands upon the walls of caves is in vogue amongst the Australian natives; though unfortunately, they keep the reason, if there is any deeper one than mere amusement, strictly to themselves. Like the Australians, again, and other rude peoples, these Aurignacians would appear to have been given to lopping off an occasional finger—from some religious motive, we may guess—to judge from the mutilated look of a good many of the handprints.

The use of paint is here limited to this class of wall-decoration. But a sharp flint makes an excellent graving tool; and the Aurignacian hunter is bent on reproducing by this means the forms of those game-animals about which he doubtless dreams night and day. His efforts in this direction, however, rather remind us of those of our infant-schools. Look at this bison. His snout is drawn sideways, but the horns branch out right and left as if in a full-face view. Again, our friend scamps details such as the legs. Sheer want of skill, we may suspect, leads him to construct what is more like the symbol of something thought than the portrait of something seen.