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 to prevent you from running and catching him, or anything else equally clever. Pontius Pilate, I have known you long—even loved you, in a way. But I have observed you closely, and though, like Dogberry, you may have everything fine about you, I am impelled sorrowfully to write you down an ass.

The ostrich is one of those birds whose whole command of facial expression is carried in the neck. He can only express himself through his features by offering you different views of his head. This is a great disadvantage. It limits the range. You may express three sentiments by the back, front, and side of the head, and something by way of combination in a three-quarter face. Then you stop, and have no further resource than standing on your head, one of the few things an ostrich is not clever at. But with such materials as he has, the ostrich does very well. Observe, his mouth is long, and droops at the corners; but the corners are wide apart, for there the head is broad.

Now you may present simple drama by the aid of this mouth—suitably disposed and ordered by the neck. Take Atkinson, here, whose beak has a certain tip-tinting distrusted of the teetotaler. Bend his head (only in theory, because Atkinson won't stand any practical nonsense)—bend his head to look downward, and let his neck wilt away sleepily. Now, viewed from the side, where is a more lamentable picture of maudlin intoxication? What could improve it, except, perhaps, a battered hat, worn lop-sided, and a cigar-stump? He is a drunken old camel-gander, coming home in the small hours, and having difficulties with his latch-key. Straighten Atkinson's neck, open wide his eyes, and take a three-quarter face view of him. Sober, sour, and indignant, there stands, not the inebriated Atkinson, but the disturbed Mrs. Atkinson on the stairs, with a candle, and a nightcap, and a lecture. That awful mouth actually conjures that candle, that nightcap, and that lecture into existence—you see and hear them more clearly than you do Atkinson, although they are not there. But this is an advanced exercise in struthian expression—a complicated feat, involving various and complex elements. There is the neck-wilt and the bending of the head; also the three-quarter face, not a simple element.

The plain and elementary principles of struthian expression lie in the mere front and side views. The third simple view, the back, is not particularly eloquent, although practice might do something even for that. At the side the ostrich is glum,