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Searchology Directory 12
Page 03
A few female fish, on the other hand, even hatch the eggs within their own bodies, and so apparently bring forth their young alive, like the English lizard among reptiles. This, however, is far from a common case: indeed, in an immense number of instances, neither parent pays the slightest attention to the eggs after they are once laid and got rid of: the spawn is left to lie on the bottom and be eaten or spared as chance directs, while the young fry have to take care of themselves, without the aid of parental advice and education. But exceptions occur where both parents show signs of realizing the responsibilities of their position. In some little South American river fish, for instance, the father and mother together build a nest of dead leaves for the spawn, and watch over it in unison until the young are hatched. This case is exactly analogous to that of the doves among birds: I may add that wherever such instances occur they always seem to be accompanied by a markedly gentle and affectionate nature. Brilliantly-coloured fighting polygamous fishes are fierce and cruel: monogamous and faithful animals are seldom bright-hued, but they mate for life and are usually remarkable for their domestic felicity. The doves and love-birds are familiar instances.
Throughout the land the newspapers are discussing the pros and cons of monogamy and polygamy. In January of 1898 the _Jiji Shimpo_, one of the leading daily papers of Tokyo, had a series of articles on the subject from the pen of one of the most illustrious educators of New Japan, Mr. Fukuzawa. His school, the "Keio Gijiku," has educated more thousands of young men than any other, notwithstanding the fact that it is a private institution. Though not a Christian himself, nor making any professions of advocating Christianity, yet Mr. Fukuzawa has come out strongly in favor of monogamy. His description of the existing social and family life is striking, not to say sickening. If I mistake not, it is he who tells of a certain noble lady who shed tears at the news of the promotion of her husband in official rank; and when questioned on the matter she confessed that, with added salary, he would add to the number of his concubines and to the frequency of his intercourse with famous dancing and singing girls.
At first Dutch art was influenced, even confounded, with that of Flanders. The Van Eycks led the way, and painters like Bouts and others, though Dutch by birth, became Flemish by adoption in their art at least. When the Flemish painters fell to copying Italy some of the Dutch followed them, but with no great enthusiasm. Suddenly, at the beginning of the seventeenth century, when Holland had gained political independence, Dutch art struck off by itself, became original, became famous. It pictured native life with verve, skill, keenness of insight, and fine pictorial view. Limited it was; it never soared like Italian art, never became universal or world-embracing. It was distinct, individual, national, something that spoke for Holland, but little beyond it.
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