Alike in matter and in method, the animal story, as we have it to-day, may be regarded as a culmination. The animal story, of course, in one form or another, is as old as the beginnings of literature. Perhaps the most engrossing part in the life-drama of primitive man was that played by the beasts which he hunted, and by those which hunted him. They pressed incessantly upon his perceptions. They furnished both material and impulse for his first gropings toward pictorial art. When he acquired the kindred art of telling a story, they supplied his earliest themes; and they suggested the hieroglyphs by means of which, on carved bone or painted rock, he first gave his narrative a form to outlast the spoken breadth. We may not unreasonably infer that the first animal story—the remote but authentic ancestor of "Mowgli" and "Lobo" and "Krag"—was a story of some successful hunt, when success meant life to the starving family; or of some desperate escape, when the truth of the narrative was attested, to the hearers squatted trembling about their fire, by the sniffings of the baffled bear or tiger at the rock-barred mouth of the cave. Such first animal stories had at least one merit of prime literary importance. They were convincing. The first critic, however supercilious, would be little likely to cavil at their verisimilitude.

Somewhat later, when men had begun to harass their souls, and their neighbours, with problems of life and conduct, then these same animals, hourly and in every aspect thrust beneath the eyes of their observation, served to point the moral of their tales. The beasts, not being in a position to resent the ignoble office thrust upon them, were compelled to do duty as concrete types of those obvious virtues and vices of which alone the unsophisticated ethical sense was ready to take cognisance. In this way, as soon as composition became a métier, was born the fable; and in this way the ingenuity of the first author enabled him to avoid a perilous unpopularity among those whose weaknesses and defects his art held up to the scorn of all the caves.

These earliest observers of animal life were compelled by the necessities of the case to observe truly, if not deeply. Pitting their wits against those of their four-foot rivals, they had to know their antagonists, and respect them, in order to overcome them. But it was only the most salient characteristics of each species that concerned the practical observer. It was simple to remember that the tiger was cruel, the fox cunning, the wolf rapacious. And so, as advancing civilisation drew an ever widening line between man and the animals, and men became more and more engrossed in the interests of their own kind, the personalities of the wild creatures which they had once known so well became obscured to them, and the creatures themselves came to be regarded, for the purposes of literature, as types or symbols merely,—except in those cases, equally obstructive to exact observation, where they were revered as temporary tenements of the spirits of departed kinsfolk. The characters in that great beast-epic of the middle ages, "Reynard the Fox," though far more elaborately limned than those which play their succinct roles in the fables of Æsop, are at the same time in their elaboration far more alien to the truths of wild nature. Reynard, Isegrim, Bruin, and Greybeard have little resemblance to the fox, the wolf, the bear, and the badger, as patience, sympathy, and the camera reveal them to us to-day.

The advent of Christianity, strange as it may seem at first glance, did not make for a closer understanding between man and the lower animals. While it was militant, fighting for its life against the forces of paganism, its effort was to set man at odds with the natural world, and fill his eyes with the wonders of the spiritual. Man was the only thing of consequence on earth, and of man, not his body, but his soul. Nature was the ally of the enemy. The way of nature was the way of death. In man alone was the seed of the divine. Of what concern could be the joy or pain of creatures of no soul, to-morrow returning to the dust? To strenuous spirits, their eyes fixed upon the fear of hell for themselves, and the certainty of it for their neighbours, it smacked of sin to take thought of the feelings of such evanescent products of corruption. Hence it came that, in spite of the gentle understanding of such sweet saints as Francis of Assisi, Anthony of Padua, and Colomb of the Bees, the inarticulate kindred for a long time reaped small comfort from the Dispensation of Love.

With the spread of freedom and the broadening out of all intellectual interests which characterise these modern days, the lower kindreds began to regain their old place in the concern of man. The revival of interest in the animals found literary expression (to classify roughly) in two forms, which necessarily overlap each other now and then, viz., the story of adventure and the anecdote of observation. Hunting as a recreation, pursued with zest from pole to tropics by restless seekers after the new, supplied a species of narrative singularly akin to what the first animal stories must have been,—narratives of desperate encounter, strange peril, and hairbreadth escape. Such hunters’ stories and travellers’ tales are rarely conspicuous for the exactitude of their observation; but that was not the quality at first demanded of them by fireside readers. The attention of the writer was focussed, not upon the peculiarities of the emotions of the beast protagonist in each fierce, brief drama, but that was not upon the thrill of the action, the final triumph of the human actor. The inevitable tendency of these stories of adventure with beasts was to awaken interest in animals, and to excite a desire for exact knowledge of their traits and habits. The interest and the desire evoked the natural historian, the inheritor of the half-forgotten mantle of Pliny. Precise and patient scientists made the animals their care, observing with microscope and measure, comparing bones, assorting families, subdividing subdivisions, till at length all the beasts of significance to man were ticketed neatly, and laid bare, as far as the inmost fibre of their material substance was concerned, to the eye of popular information.

Altogether admirable and necessary as was this development at large, another, of richer or at least more spiritual significance, was going on at home. Folk who loved their animal comrades—their dogs, horses, cats, parrots, elephants—were observing, with the wonder and interest of discoverers, the astonishing fashion in which the mere instincts of these so-called irrational creatures were able to simulate the operations of reason. The results of this observation were written down, till "anecdotes of animals" came to form a not inconsiderable body of literature. The drift of all these data was overwhelmingly toward one conclusion. The mental processes of the animals observed were seen to be far more complex than the observers had supposed. Where instinct was called in to account for the elaborate ingenuity with which a dog would plan and accomplish the outwitting of a rival, or the nice judgment with which an elephant, with no nest-building ancestors behind him to instruct his brain, would choose and adjust the teak-logs which he was set to pile, it began to seem as if that faithful faculty was being overworked. To explain yet other cases, which no accepted theory seemed to fit, coincidence was invoked, till that rare and elusive phenomenon threatened to become as customary as buttercups. But when instinct and coincidence had done all that could be asked of them, there remained a great unaccounted-for body of facts; and men were forced at last to accept the proposition that, within their varying limitations, animals can and do reason. As far, at least, as the mental intelligence is concerned, the gulf dividing the lowest of the human species from the highest of the animals has in these latter days been reduced to a very narrow psychological fissure.

Whether avowedly or not, it is with the psychology of animal life that the representative animal stories of to-day are first of all concerned. Looking deep into the eyes of certain of the four-footed kindred, we have been startled to see therein a something, before unrecognised, that answered to our inner and intellectual, if not spiritual selves. We have suddenly attained a new and clearer vision. We have come face to face with personality, where we were blindly wont to predicate mere instinct and automatism. It is as if one should step carelessly out of one’s back door, and marvel to see unrolling before his new-awakened eyes the peaks and seas and misty valleys of an unknown world. Our chief writers of animal stories at the present day may be regarded as explorers of this unknown world, absorbed in charting its topography. They work, indeed, upon a substantial foundation of known facts. They are minutely scrupulous as to their natural history, and assiduous contributors to that science. But above all are they diligent in their search for the motive beneath the action. Their care is to catch the varying, elusive personalities which dwell back of the luminous brain windows of the dog, the horse, the deer, or wrap themselves in reserve behind the inscrutable eyes of all the cats, or sit aloof in the gaze of the hawk and the eagle. The animal story at its highest point of development is a psychological romance constructed on a framework of natural science.

The real psychology of the animals, so far as we are able to grope our way toward it by deduction and induction combined, is a very different thing from the psychology of certain stories of animals which paved the way for the present vogue. Of these, such books as "Beautiful Joe" and "Black Beauty" are deservedly conspicuous examples. It is no detraction from the merit of these books, which have done great service in awakening a sympathetic understanding of the animals and sharpening our sense of kinship with all that breathe, to say that their psychology is human. Their animal characters think and feel as human beings would think and feel under like conditions. This marks the stage which these works occupy in the development of the animal story.

The next stage must be regarded as, in literature, a climax indeed, but not the climax in this genre. I refer to the "Mowgli" stories of Mr. Kipling. In these tales the animals are frankly humanized. Their individualisation is distinctly human, as are also their mental and emotional processes, and their highly elaborate powers of expression. Their notions are complex; whereas the motives of real animals, so far as we have hitherto been able to judge them, seem to be essentially simple, in the sense that the motive dominant at a given moment quite obliterates, for the time, all secondary motives. Their reasoning powers and their constructive imagination are far beyond anything which present knowledge justifies us in ascribing to the inarticulate kindreds. To say this is in no way to depreciate such work, but merely to classify it. There are stories being written now which, for interest and artistic value, are not to be mentioned in the same breath with the "Mowgli" tales, but which nevertheless occupy a more advanced stage in the evolution of this genre.

It seems to me fairly safe to say that this evolution is not likely to go beyond the point to which it has been carried to-day. In such a story, for instance, as that of "Krag, the Kootenay Ram," by Mr. Ernest Seton, the interest centres about the personality, individuality, mentality, of an animal, as well as its purely physical characteristics. The field of animal psychology so admirably opened is an inexhaustible world of wonder. Sympathetic exploration may advance its boundaries to a degree of which we hardly dare to dream; but such expansion cannot be called evolution. There would seem to be no further evolution possible, unless based upon a hypothesis that animals have souls. As souls are apt to elude exact observation, to forecast any such development would seem to be at best merely fanciful.