"Waldrop, Howard - The Ugly Chickens(2)" - читать интересную книгу автора (Waldrop Howard)

On a raised platform at one end of the room an orchestra plays dinner music—a harpsichord, viola, cello, three violins, and woodwinds. One of the royal dwarfs sits on the edge of the platform, his foot slowly rubbing the back of one of the dogs sleeping near him.

As the music of Pachelbel's Canon in D swells and rolls through the hall, one of the dodos walks in clumsily, stops, tilts its head, its eyes bright as a pool of tar. It sways a little, lifts its foot tentatively, one then another, rocks back and forth in time to the cello.

The violins swirl. The dodo begins to dance, its great ungainly body now graceful. It is joined by the other two dodos who come into the hall, all three in sort of a circle.

The harpsichord begins its counterpoint. The fourth dodo, the white one from Rйunion, comes from its place under the table and joins the circle with the others.

It is most graceful of all, making complete turns where the others only sway and dip on the edge of the circle they have formed.

The music rises in volume; the first violinist sees the dodos and nods to the King. But he and the others at the table have already seen. They are silent, transfixed—even the servants stand still, bowls, pots and, kettles in their hands forgotten.

Around the dodos dance with bobs and weaves of their ugly heads. The white dodo dips, takes half a step, pirouettes on one foot, circles again.

Without a word the King of Holland takes the hand of the Queen, and they come around the table, children before the spectacle. They join in the dance, waltzing (anachronism) among the dodos while the family, the guests, the soldiers watch and nod in time with the music.

Then the vision fades, and the afterimage of a flickering fireplace and a dodo remains.




· · · · ·


The dodo and its kindred came by ships to the ports of civilized men. The first we have record of is that of Captain van Neck who brought back two in 1599—one for the King of Holland, and one which found its way through Cologne to the menagerie of Emperor Rudolf II.
This royal aviary was at Schloss Neugebau, near Vienna. It was here the first paintings of the dumb old birds were done by Georg and his son Jacob Hoefnagel, between 1602 and 1610. They painted it among more than ninety species of birds which kept the Emperor amused.

Another Dutch artist named Roelandt Savery, as someone said, "made a career out of the dodo." He drew and painted them many times, and was no doubt personally fascinated by them. Obsessed, even. Early on, the paintings are consistent; the later ones have inaccuracies. This implies he worked from life first, then from memory as his model went to that place soon to be reserved for all its species. One of his drawings has two of the Raphidae scrambling for some goodie on the ground. His works are not without charm.

Another Dutch artist (they seemed to sprout up like mushrooms after a spring rain) named Peter Withoos also stuck dodos in his paintings, sometimes in odd and exciting places—wandering around during their owner's music lessons, or with Adam and Eve in some Edenic idyll.

The most accurate representation, we are assured, comes from half a world away from the religious and political turmoil of the seafaring Europeans. There is an Indian miniature painting of the dodo which now rests in a museum in Russia. The dodo could have been brought by the Dutch or Portuguese in their travels to Goa and the coasts of the Indian subcontinent. Or they could have been brought centuries before by the Arabs who plied the Indian Ocean in their triangular-sailed craft, and who may have discovered the Mascarenes before the Europeans cranked themselves up for the First Crusade.




· · · · ·


At one time early in my bird-fascination days (after I stopped killing them with BB guns but before I began to work for a scholarship), I once sat down and figured out where all the dodos had been.
Two with van Neck in 1599, one to Holland, one to Austria. Another was in Count Solm's park in 1600. An account speaks of "one in Italy, one in Germany, several to England, eight or nine to Holland." William Boentekoe van Hoorn knew of "one shipped to Europe in 1640, another in 1685" which he said was "also painted by Dutch artists." Two were mentioned as "being kept in Surrat House in India as pets," perhaps one of which is the one in the painting. Being charitable, and considering "several" to mean at least three, that means twenty dodos in all.

There had to be more, when boatloads had been gathered at the time.

What do we know of the Didine birds? A few ships' logs, some accounts left by travelers and colonists. The English were fascinated by them. Sir Hamon L'Estrange, a contemporary of Pepys, saw exhibited "a Dodar from the Island of Mauritius … it is not able to flie, being so bigge." One was stuffed when it died, and was put in the Museum Tradescantum in South Lambeth. It eventually found its way into the Ashmolean Museum. It grew ratty and was burned, all but a leg and the head, in 1750. By then there were no more dodos, but nobody had realized that yet.

Francis Willughby got to describe it before its incineration. Earlier, old Carolus Clusius in Holland studied the one in Count Solm's park. He collected everything known about the Raphidae, describing a dodo leg Pieter Pauw kept in his natural history cabinet, in Exoticarium libri decem in 1605, eight years after their discovery.

Franзois Leguat, a Huguenot who lived on Rйunion for some years, published an account of his travels in which he mentioned the dodos. It was published in 1690 (after the Mauritius dodo was extinct) and included the information that "some of the males weigh forty-five pounds. One egg, much bigger than that of a goose, is laid by the female, and takes seven weeks' hatching time."