Unable to deliver lectures, the lion and the elephant taught by example; so did the turtle, the wolf, and the ant. Aesop's Fables, composed in the sixth century BC, accorded with the further researches of Aristotle, who, about 200 years later, in his History of Animals, set up the epistemological framework that for the next two millennia incorporated the presence of animals in the center ring of what became known as Western civilization:
"Just as we pointed out resemblances in the physical organs, so in a number of animals we observe gentleness or fierceness, mildness or cross temper, courage or timidity, fear or confidence, high spirits or low cunning... Other qualities in man are represented by analogous and not identical qualities; for instance, just as in man we find knowledge, wisdom, and sagacity, so in certain animals there exists some other natural potentiality akin to these."
Other peoples in other parts of the world developed different sets of relations with animals worshipped as gods, but in the European theaters of operation, they served as teachers of both natural and political science. The more that was learned about their "analogous and not identical qualities," the more fabulous they became. Virgil's keeping of bees on his country estate in 30 BC led him in book four of the Georgics to admire their work ethic -- "At dawn they pour forth from the gates -- no loitering"; to applaud their sense of a public and common good -- "they share the housing of their city,/passing their lives under exalted laws"; to approve of their chastity -- "They forebear to indulge/in copulation or to enervate/their bodies in Venus' ways."
The studies of Pliny the Elder in the first century demonstrated to his satisfaction that so exceptional were the wonders of the animal kingdom that man by comparison "is the only animal that knows nothing and can learn nothing without being taught. He can neither speak, nor walk, nor eat, nor do anything without the prompting of nature, but only weep."
To the scientific way of looking at animals adapted by the Greco-Roman poets and philosophers, medieval Christianity added the dimension of science fiction -- any and all agents of nature not to be trusted until or unless they had been baptized in the font of a symbol or herded into the cage of an allegory. In the illuminated pages of tenth-century bibles and the rose windows of Gothic cathedrals, the bee became a sign of hope, the crow and the goat both references to Satan, the fly indicative of lust, the lamb and the dove variant embodiments of Christ. Instead of remarking upon the extraordinary talents of certain animals, the holy fathers produced mythical beings, among them the dragon (huge, batwinged, fire breathing, barbed tail) and the unicorn (white body, blue eyes, the single horn on its forehead colored red at the tip).
The resurrection of classical antiquity in fifteenth-century Italy restored the emphasis on the observable correlation between man and beast. The anatomical drawings in Leonardo da Vinci's notebooks (of horses, swans, human cadavers) are works of art of a match with The Last Supper and the Mona Lisa. He saw human beings as organisms among other organisms participant in the great chain of being, the various life forms merging into one another in their various compounds of air, earth, fire, and water. Giuseppe Arcimboldo's 1566 portrait of a man's head anticipates the conclusion reached in 1605 by the English bishop Joseph Hall: "Mankind, therefore, hath within itself his goats, chameleons, salamanders, camels, wolves, dogs, swine, moles, and whatever sorts of beasts: there are but a few men amongst men."
The eighteenth-century naturalists shared with Virgil the looking to the animal kingdom for signs of good government. The Count of Buffon, keeper of the royal botanical garden for King Louis XV, recognized in 1767 the beaver as a master architect capable of building important dams, but he was even more impressed by the engineering of the beaver's civil society, by "some particular method of understanding one another, and of acting in concert" However numerous the republic of beavers may be, peace and good order are uniformly maintained in it."
Buffon was accustomed, as were Virgil and Leonardo, not only to the company of horses and bees but also to the sight and sound of ducks, cows, chickens, pigs, turtles, goats, rabbits, hawks. They supplied the bacon, the soup, and the eggs, but they also invited the question asked by Ralph Waldo Emerson in 1836: "Who can guess" how much industry and providence and affection we have caught from the pantomime of brutes?"
How the Animal World Lost Its License to Teach
Not much if the brutes are nowhere to be found. Over the course of the last two centuries, animals have become all but invisible in the American scheme of things, drummed out of the society of their myth-making companions, gone from the rural as well as the urban landscape. John James Audubon in 1813 on the shore of the Ohio River marveled at the slaughter of many thousands of wild pigeons by men amassed in the hundreds, armed with guns, torches, and iron poles. In 1880, on a Sioux reservation in the Dakota Territory, Luther Standing Bear could not eat of "the vile-smelling cattle" substituted for "our own wild buffalo" that the white people had been killing "as fast as possible."
And as observers, they were not alone. Many others have noted the departure of animals from our human world and culture. Between 150,000 and 200,000 horses could, for example, be found in the streets of New York City in 1900, requiring the daily collection of five million pounds of manure. By 1912, their function as a means of transport had been outsourced to the automobile.
As with the carriage and dray horses, so also with the majority of mankind's farmyard associates and nonhuman acquaintances. Out of sight and out of mind, the chicken, the pig, and the cow lost their licenses to teach. The modern industrial society emerging into the twentieth century transformed them into products and commodities, swept up in the tide of economic and scientific progress otherwise known as the conquest of nature.
Animals acquired the identities issued to them by man, became labels marketed by a frozen-food or meat-packing company, retaining only those portions of their value that fit the formula of research tool or cultural symbol -- circus or zoo exhibit, corporate logo or Hollywood cartoon, active ingredient in farm-fresh salmon or genetically modified beef.
It was 10 years after my meeting with the Australian koala that I was first introduced to an animal in a state of nature -- a gray langur (Semnopithecus entellus, golden fur, black face, fond of fruit and flowers). It was about two feet tall, very quick on its feet, one of 60 or 70 monkeys of various species wandering around the ashram of the Maharishi Mahesh Yogi on the shore of the Ganges River, 128 miles north of New Delhi.
The Maharishi at the time (February 1968) was at the high-water mark of his fame as a guru, his science of Transcendental Meditation having captured the celebrity markets in Los Angeles, New York, and London, and that winter he was teaching the lesson of the yellow marigold to a select company of disciples, among them the four Beatles, who had made the journey from the decadent, materialist West in search of enlightened well-being in the spiritual East. The ashram was set in a forest of teak and sheesham trees at the base of the Himalayan escarpment, and again on assignment from the American press, I'd been advised by the editor of the Saturday Evening Post to listen for the voice of the cosmos under the roof of the world.
During my nearly three weeks on the ashram I learned nothing about the Beatles that wasn't known to their fans, from the Maharishi little more than the fact that at the fifth level of realization, "Everything becomes hilarious." But from the monkey I learned that it was somebody else -- not a pet or a little friend to all the world, not an allegory, a movie actor, or a laboratory experiment. Two days after my arrival I noticed it standing in a tree opposite the door to the small outbuilding (one room, whitewashed stone, no window) in which I'd been granted accommodation near the ashram's lower gate. Another two days, and it was always there whenever I was coming or going, and it occurred to me that it was I who was being observed by the monkey, not the monkey who was being observed by me.
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