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This Book List Sectory 03
Page 09
It is not surprising under these circumstances to learn that sticklebacks are successful and increasing animals. Their numbers are enormous, wherever they get a fair chance in life, because they multiply rapidly up to the extreme limit of the means of subsistence, and develop as fast as food remains for them. There the inexorable Malthusian law at last steps in: when there is not food enough for all some must starve; that is the long and the short of the great population question. But while provender is forthcoming they increase gayly. Sticklebacks live mainly on the spawn of other fish, though they are so careful of their own, and they are therefore naturally hated by trout-preservers and owners of fisheries in general. Thousands and thousands are caught each year; in some places, indeed, they are so numerous that they are used as manure. It is their numbers, of course, that make them formidable; they are the locusts of the streams, well armed and pugnacious, and provided with most remarkable parental instincts of a protective character, which enables them to fill up all vacancies in their ranks as fast as they occur with astonishing promptitude.
If a clew to the character of a nation is gained by a study of the nature of the gods it worships, no less valuable an insight is gained by a study of its heroes. Such a study confirms the impression that the emotional life is fundamental in the Japanese temperament. Japan is a nation of hero-worshipers. This is no exaggeration. Not only is the primitive religion, Shintoism, systematic hero-worship, but every hero known to history is deified, and has a shrine or temple. These heroes, too, are all men of conspicuous valor or strength, famed for mighty deeds of daring. They are men of passion. The most popular story in Japanese literature is that of "The Forty-seven Ronin," who avenged the death of their liege-lord after years of waiting and plotting. This revenge administered, they committed harakiri in accordance with the etiquette of the ethical code of feudal Japan. Their tombs are to this day among the most frequented shrines in the capital of the land, and one of the most popular dramas presented in the theaters is based on this same heroic tragedy.
The brothers Maris have made a distinct impression on modern Dutch art, and, strange enough, each in a different way from the others. James Maris (1837-) studied at Paris, and is remarkable for fine, vigorous views of canals, towns, and landscapes. He is broad in handling, rather bleak in coloring, and excels in fine luminous skies and voyaging clouds. Matthew Maris (1835-), Parisian trained like his brother, lives in London, where little is seen of his work. He paints for himself and his friends, and is rather melancholy and mystical in his art. He is a recorder of visions and dreams rather than the substantial things of the earth, but always with richness of color and a fine decorative feeling. Willem Maris (1839-), sometimes called the "Silvery Maris," is a portrayer of cattle and landscape in warm sunlight and haze with a charm of color and tone often suggestive of Corot. Jongkind (1819-1891) stands by himself, Mesdag (1831-) is a fine painter of marines and sea-shores, and Mauve (1838-1888), a cattle and sheep painter, with nice sentiment and tonality, whose renown is just now somewhat disproportionate to his artistic ability. In addition there are Kever, Poggenbeek, Bastert, Baur, Breitner, Witsen, Haverman, Weissenbruch.
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