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MRAP Directory 20
Page 03
At length, after enduring great privations and suffering, and encountering the extreme dangers to which their frail barks were necessarily exposed from the surges which roll in perpetually from the broad Atlantic Ocean upon the coast of Spain and into the Bay of Biscay, they arrived safely on the shores of Britain. They landed and explored the interior. They found the island robed in the richest drapery of fruitfulness and verdure, but it was unoccupied by any thing human. There were wild beasts roaming in the forests, and the remains of a race of giants in dens and caves--monsters as diverse from humanity as the wolves. Brutus and his followers attacked all these occupants of the land. They drove the wild beasts into the mountains of Scotland and Wales, and killed the giants. The chief of them, whose name was Gogmagog, was hurled by one of Brutus's followers from the summit of one of the chalky cliffs which bound the island into the sea.
To brood over the war, to spend our time in disentangling its intricate causes, seems to me a task for future historians. But a lover of peace, confronted by the hideousness of war, does best to try, if he can, to make plain what he means by peace and why he desires it. I do not mean by peace an indolent life, lost in gentle reveries. I mean hard daily work, and mutual understanding, and lavish help, and the effort to reassure and console and uplift. And I mean, too, a real conflict--not a conflict where we set the best and bravest of each nation to spill each other's blood--but a conflict against crime and disease and selfishness and greediness and cruelty. There is much fighting to be done; can we not combine to fight our common foes, instead of weakening each other against evil? We destroy in war our finest parental stock, we waste our labour, we lose our garnered store; we give every harsh passion a chance to grow; we live in the traditions of the past, and not in the hopes of the future.
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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