The Age of Wonder: How the Romantic Generation Discovered the Beauty and Terror of Science. Richard Holmes

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СКАЧАТЬ rel="nofollow" href="#litres_trial_promo">⁸⁴ If there was a child, Banks did not allow it to affect his free social arrangements. Sarah became known and much liked by many visiting men of science, the Swedish naturalist Johann Alströmer referring to her intelligent conversation and fondly recalling a memorable ‘Soupé at his Maitresse, Mistress Wells’s’, with Banks and Solander on riotous good form.⁸⁵

      Tahiti pursued Banks in other ways. In summer 1774 one of Cook’s fleet commanders, Captain Furneaux of HMS Adventure, returned with a first visitor to England from the South Seas. He was entered in the ship’s muster books as ‘Tetuby Homey’, from Huahine in the Society Islands, ‘22 years, Able Seaman’. This news immediately reminded Banks of all his hopes for Tupia and his son, which had been so tragically destroyed in Batavia in 1770. Banks and Solander hurried down to Portsmouth to greet ‘Homey’ in July.

      There, confined to the captain’s cabin, they found a tall and strikingly handsome Tahitian man, who was soon to become known in England as ‘Mai’ or ‘Omai’. He announced that he hoped to make his fortune, and fully intended to return to Tahiti as a rich and experienced traveller, having survived the expected savagery of the English.⁸⁶ Omai turned out to be quick-witted, charming and astute. His exotic good looks, with large, soulful eyes, were much admired in English society, especially among the more racy of the aristocratic ladies.

      Banks treated Omai partly as an honoured guest, and partly as an exotic specimen. The ambiguity of the attitudes displayed in his Tahitian journal was now put to the test. Banks fitted Omai up with European clothes, a brown velvet jacket, white waistcoat and grey silk breeches. He took him to dine with the Royal Society, with the Society of Philosophers (ten times), and carefully introduced him at a number of society soirées. Omai’s bow, executed with the aplomb of a dancer, became celebrated. He quickly won all hearts, and was eventually presented by Banks to King George III at Kew. The introduction became legendary, when Omai executed a superb version of his bow, and then sprang forward to grasp the royal hand, and grinning broadly, cried out, ‘How do King Tosh!’⁸⁷

      From then on he was lionised almost continually for a year. Thanks to Banks he met a host of celebrities, among them Lord Sandwich, Dr Johnson, Fanny Burney and the poet Anna Seward, who wrote a poem about him. He learned to ride, shoot, conduct flirtations, and play excellent chess-Dr Johnson never stopped teasing his friend, the learned antiquarian Giuseppe Baretti, that Omai had once checkmated him. Omai also made excellent jokes about current English fashions. Fanny Burney records his delighted and unrestrained ‘Ha! Ha! Ha!’ on seeing the Duchess of Devonshire’s high-piled hairstyle.

      Conscious of European diseases, Banks had Omai undergo Jenner’s new technique of inoculation with cowpox vaccine, against the lethal smallpox. He also caused something of a scandal by absolutely refusing to teach Omai to read, or to have him instructed in any form of Christian religion. Their most happy time together came in the summer of 1775, when Banks took Omai with several friends on a field expedition to Whitby and Scarborough. They travelled up in leisurely fashion, comfortably installed in Banks’s large, lumbering coach, stopping off to eat at remote country inns and botanise in the summer fields.

      An imposing portrait of Omai, standing formally alongside Banks and Solander, was painted by William Parry, and displayed at the Royal Academy in 1777.⁸⁸ It again demonstrates the ambiguity of the relationship between patron and protégé. Banks points dramatically towards Omai, who stands gazing out at the viewer, wrapped in the dazzling white robes of Tahitian ceremonial dress, almost Roman in his stately demeanour. His naked feet and tattooed hands are clearly shown. Though there is an extraordinarily calm, almost aristocratic, beauty about his presence, it is not clear if he is Banks’s companion or his trophy. Other portraits were painted by Sir Joshua Reynolds, who also executed an exquisite pencil drawing of Omai’s head, emphasising his magnificent mane of dark hair, his large, tender eyes and finely formed mouth. Another more prosaic solo portrait was especially commissioned for John Hunter’s anthropological collection, later housed at the Royal College of Surgeons.⁸⁹

      In 1777 Cook departed on his third Pacific voyage, taking Omai with him. He left behind his record of his second expedition, A Voyage Towards the South Pole and Round the World. The text was accompanied by extensive illustrations, including pictures of Omai, numerous botanical studies of rare plants, and sketches of the naked Tahitian dances witnessed by Banks and Parkinson. The drawings of Omai were later used by the anatomist William Lawrence in his Lectures on the Natural History of Man (1819).

      Cook’s sober book caught the public’s imagination. The poet William Cowper, tucked away in his Buckinghamshire vicarage at Olney, and permanently trembling on the brink of disabling depression, found extraordinary relief and delight in imagining the great voyage southwards. To explain his sensations, Cowper invented the idea of the ‘armchair traveller’: ‘My imagination is so captivated upon these occasions, that I seem to partake with the navigators, in all the dangers they encountered. I lose my anchor; my main-sail is rent into shreds; I kill a shark, and by signs converse with a Patagonian, and all this without moving from my fireside.’⁹⁰

      In his long, reflective poem The Task, Cowper accompanied Cook and Banks in his imagination. He transformed Banks, rather suitably, into an adventurous bee, busily foraging for pollen.

      He travels and expatiates, as the bee

      From flower to flower, so he from land to land; The manners, customs, policy of all Pay contribution to the store he gleans; He sucks intelligence in every clime, And spreads the honey of his deep research At his return, a rich repast for me.

      He travels and I too. I tread his deck,

      Ascend his topmast, through his peering eyes Discover countries, with a kindred heart Suffer his woes and share in his escapes, While fancy, like the finger of a clock, Runs the great Circuit, and is still at home.⁹¹

      Omai landed back in Tahiti in August 1777, and set up as a merchant of Western goods. He also became a sort of guide and impresario for visiting Westerners, ironically finding himself doing Banks’s job in reverse, explaining European culture to the sceptical Tahitians. He sold red feathers, cooking pots and pistols, but never fully reintegrated into Tahitian society. Cowper included Omai’s story in The Task, reflecting on the excitement of exploration, but also on the clash between European and Pacific cultures. He suggested that Omai might have become a victim of Romantic scientific enquiry, left permanently alienated from both worlds:

      I cannot think thee yet so dull of heart

      And spiritless, as never to regret Sweets tasted here, and left as soon as known. Methinks I see thee straying on the beach And asking of the surge that bathes thy foot If ever it has wash’d our distant shore. I see thee weep, and thine are honest tears, A patriot’s for his country.⁹²

      Banks’s own liberated behaviour in the years immediately following his return to London suggests that he too had been permanently affected by his Tahitian experience. A visitor to Revesby in 1776 referred to him as ‘a wild eccentric character’ who obviously still dreamed of his ‘voyage to Otaheite’, and neglected his estates.⁹³ He was reported to have taken a young woman-presumably Sarah Wells-on a scandalous fishing party with Lord Sandwich and his mistress Martha Ray, during which the women sang and danced while the men ‘played the kettle drums’ СКАЧАТЬ