From the ferns we look to the rest of the forest, and after the first bewilderment at the profusion and variety of vegetation we try to fasten on to a few individuals or types which we can identify as having seen elsewhere in some other part of India or in some palm-house in England. We are in the still, steamy atmosphere of a hot-house, and we are conscious that all round us, growing in luxuriant abundance, are rare and beautiful plants of which a single specimen would be treasured and treated with every fostering care in England. But we sigh to be able to recognise these treasures and make contact between home and this exceptionally favoured region--favoured, that is to say, as regards plant life. From among the giant trees, the bamboos, the palms, the climbers, the shrubs, the flowers, the orchids, we look out anxiously for friends--or at least for acquaintances whom we hope may develop into friends as we meet them again and again on our journeys through the forest. Of the flowers, the orchids are naturally the first to attract us. They shine out as real gems in the greenery around them. The eye jumps to them at once. Here seems to be something as nearly perfect in colour, form, and texture as it could possibly be. If the orchid is white it is of the purest whiteness, and shines chaste and unsullied amidst its dull surroundings. If it is purple, or pale yellow, or golden-yellow, or rose, or violet, or white, the colour has always a depth and purity which is deeply satisfying. And it seems to be because the waxy texture of these orchids is such a perfect medium for the display of colour that orchids are so exceptionally beautiful. The texture is of the very consistency best adapted for revealing the beauty of colour. And when we pluck a spray of these choice treasures from the forest branch and hold it in the sunlight, we feel we are seeing colour almost in perfection. The colour and texture are beautiful enough in themselves. But an added attraction in these orchids is their form--the curvature of their sepals and petals, and the wonderful little pitchers and cups and lips and tongues which an orchid exhibits. And the form is no mere geometrical pattern of lines and curves. It is obviously an ingenious contrivance devised for some special purpose. That purpose we now know to be the attraction of insects, who in sucking the orchid's honey will unconsciously carry on their wings or backs the flower's pollen to fertilise another orchid. Though whether the insect in the long centuries by probing at the orchid has forced it to adapt itself to it, or whether the flower has forced the insect to adapt itself to the flower, or whether--as seems most likely--a process of mutual adaptation has been going on century by century, and the flower and insect have been gradually adapting themselves to one another, is still a matter of discussion among naturalists.