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Carbelide Nelicanya Sectory 21
Page 06
It is of some interest that in all the contemporary discussion of this case no one ever suggested that John was personally incapable of such a violation of his oath or of such a murder with his own hand. He is of all kings the one for whose character no man, of his own age or later, has ever had a good word. Historians have been found to speak highly of his intellectual or military abilities, but words have been exhausted to describe the meanness of his moral nature and his utter depravity. Fully as wicked as William Rufus, the worst of his predecessors, he makes on the reader of contemporary narratives the impression of a man far less apt to be swept off his feet by passion, of a cooler and more deliberate, of a meaner and smaller, a less respectable or pardonable lover of vice and worker of crimes. The case of Arthur exhibits one of his deepest traits, his utter falsity, the impossibility of binding him, his readiness to betray any interest or any man or woman, whenever tempted to it. The judgment of history on John has been one of terrible severity, but the unanimous opinion of contemporaries and posterity is not likely to be wrong, and the failure of personal knowledge and of later study to find redeeming features assures us of their absence. As to the murder of Arthur, it was a useless crime even if judged from the point of view of a Borgian policy merely, one from which John had in any case little to gain and of which his chief enemy was sure to reap the greatest advantage.
Tree-frogs have, of course, in most circumstances much greater difficulty in getting at water than pond-frogs; and this is especially true in certain tropical or desert districts. Hence most of the frogs which inhabit such regions have had to find out or invent some ingenious plan for passing through the tadpole stage with a minimum of moisture. The devices they have hit upon are very curious. Some of them make use of the little pools collected at the bases of huge tropical leaf-stalks, like those of the banana plant; others dispense with the aid of water altogether, and glue their new-laid eggs to their own backs, where the fry pass through the tadpole stage with the slimy mucus which surrounds them. Nature always discovers such cunning schemes to get over apparent difficulties in her way: and the tree-frogs have solved the problem for themselves in half a dozen manners in different localities. Oddest of all, perhaps, is the dodge invented by "Darwin's frog," a Chilean species, in which the male swallows the eggs as soon as laid, and gulps them into the throat-pouch beneath his capacious neck: there they hatch out and pass through their tadpole stage: and when at last they arrive at frogly maturity, they escape into the world through the mouth of their father.
Reynolds was well-grounded in Venetian color, Bolognese composition, Parmese light-and-shade, and paid them the homage of assimilation; but if Gainsborough (1727-1788) had such school knowledge he positively disregarded it. He disliked all conventionalities and formulas. With a natural taste for form and color, and with a large decorative sense, he went directly to nature, and took from her the materials which he fashioned into art after his own peculiar manner. His celebrated Blue Boy was his protest against the conventional rule of Reynolds that a composition should be warm in color and light. All through his work we meet with departures from academic ways. By dint of native force and grace he made rules unto himself. Some of them were not entirely successful, and in drawing he might have profited by school training; but he was of a peculiar poetic temperament, with a dash of melancholy about him, and preferred to work in his own way. In portraiture his color was rather cold; in landscape much warmer. His brush-work was as odd as himself, but usually effective, and his accessories in figure-painting were little more than decorative after-thoughts. Both in portraiture and landscape he was one of the most original and most English of all the English painters--a man not yet entirely appreciated, though from the first ranked among the foremost in English art.
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