Part 28

"Yes, yes! Of course he would."

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

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.

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)

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.

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.

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.

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.

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.

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.

"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.