4IO Dafwin, and after Darwin. 



kingdom, the colour is concealed, is surely sufficient 

 proof that the colour, if regarded from an aesthetic 

 point of view, is accidental. Therefore, when, as in 

 other cases, such colouring occurs upon the surface, 

 and thus becomes apparent, are we not irresistibly- 

 led to conclude that its exhibition in such cases is 

 likewise accidental, so far as any question of aesthetic 

 design is concerned ? 



I have now briefly glanced at all the main facts of 

 organic nature with reference to beauty ; and, as a 

 result, I think it is impossible to resist the general 

 conclusion, that in organic nature beauty does not 

 exist as an end per se. All cases where beauty can 

 be pointed to in organic nature are seemingly due — 

 either to natural selection, acting without reference 

 to beauty, but to utility; to sexual selection, act- 

 ing with reference to the taste of animals ; or else 

 to sheer accident. And if this general conclusion 

 should be held to need any special verification, is it 

 not to be found in the numberless cases where or- 

 ganic nature not only fails to be beautiful, but reveals 

 itself as the reverse. Not again to refer to the case 

 of parasites, what can be more unshapely than a 

 hippopotamus, or more generally repulsive than a 

 crocodile? If it be said that these are exceptions, 

 and that the forms of animals as a rule are graceful, 

 the answer — even apart from parasites — is obvious. 

 In all cases where the habits of life are such as to 

 render rapid locomotion a matter of utilitarian 

 necessity, the outlines of an animal must be 

 graceful — else, whether the locomotion be terrestrial, 

 aerial, or aquatic, it must fail to be swift. Hence it 

 is only in such cases as that of the hippopotamus, 



