lo A MONOGRAPH OF THE PHEASANTS 



influence. Yet, when we remember how impossible of definite explanation the term 

 aesthetic appreciation is in ourselves — how no two people in the world have the same 

 appreciation of art, music or nature, and how widely apart are the ideals of beauty of the 

 various races of mankind, we may perhaps say that my explanation has rather worked 

 around in a circle, and that it is, after all, a very primitive form of aesthetic feeling. 



The human explanation, however, like the man-given name, is a matter of secondary 

 importance. The phenomenon remains ever as wonderful, and the courtship of the 

 Golden Pheasant in spring is something I try never to miss seeing. 



Before I begin to describe it in detail, and leaving any attempt at explanation, I wish 

 to speak of the orange and black ruff of the Golden as an example of one of many most 

 marvellous examples of specialized ornaments, whose mode of origin and subsequent 

 evolution is at present wholly inexplicable to us. In the case of the great patch of 

 golden plumage on the back and rump, or the coloured wattles of some of the other 

 pheasants, we can satisfy our inquiries as to evolution by realizing the gradual increase 

 in extent and in brilliance either by small variations or more abruptly by mutational 

 steps. 



The ruff, however, appearing only at the end of the second year, is still imperfect 

 even when full-grown. Throughout the following second winter it lies thrown back 

 over the neck and shoulders, each feather wonderfully specialized as to form and structure 

 as well as hue, a cape of great beauty of colour, but of irregular, broken pattern. Had 

 we seen only dead specimens of Golden Pheasants we should never suspect this patch of 

 feathers of aught but an ornament comparable to the posterior zone of green. 



But the first glance at a courting male reveals the real raison d'etre of the ruff. 

 From a crowded neck-covering of irregularly lined feathers it is transformed into a 

 wonderful semicircular halo of concentric rings of orange and black, drawn forward and 

 around the focus of the glowing golden eye. The details of the display are as remark- 

 able as the sudden transformation in the courting bird. Besides the black tip to each 

 feather, there is a second narrow bar of black some distance up the web and wholly 

 concealed from view while the cape is at rest in its usual closed position. When fully 

 spread the breaks which would occur in the terminal black line from the extension of 

 the separate feathers are closed up, and the pattern made symmetrical by the second 

 black line, which now becomes visible. 



First to one side, then the other, is displayed this magnificent ornament, obscuring 

 the entire head and beak, and leaving visible only the flowing crest of spun gold and the 

 brilliant eye. In this momentary display we see the ultimate object of the ruff. For 

 the sole purpose of being drawn out into its full extended beauty and symmetry, perhaps 

 forty or fifty times during a few days, for one or two seconds at each display, it has been 

 carried folded up throughout the whole of the remaining year, ensheathed in apparent 

 imperfection. Such a phenomenon baffles all our theories, makes naught of our most 

 concentrated researches. And yet before the world-wide increase of mankind puts an 

 end to the race of Golden Pheasants we may have solved this and the myriads of other 

 problems whose mystery only adds to their fascination. 



The courtship display of the Golden Pheasant is altogether lateral. The hen is 

 usually feeding quietly when the cock sidles or more often runs up, circling until he gets 

 in front, when with a sudden rush he at once assumes the position of full display with 



