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Average One Directory 18
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The Surinam toad, represented in No. 8, is also the possessor of one of the strangest nurseries known to science. It lives in the dense tropical forests of Guiana and Brazil, and is a true water-haunter. But at the breeding season the female undergoes a curious change of integument. The skin on her back grows pulpy, soft, and jelly-like. She lays her eggs in the water: but as soon as she has laid them, her lord and master plasters them on to her impressionable back with his feet, so as to secure them from all assaults of enemies. Every egg is pressed separately into a bed of the soft skin, which soon closes over it automatically, thus burying each in a little cell or niche, where it undergoes its further development. The tadpoles pass through their larval stage within the cell, and then hop out, in the four-legged condition. As soon as they have gone off to shift for themselves, the mother toad finds herself with a ragged and honeycombed skin, which must be very uncomfortable. So she rubs the remnant of it off against stones or the bark of trees, and re-develops a similar back afresh at the next breeding season.
Professor Max Muller admits that we share with the lower animals what he calls an emotional language, and continues that we may call their interjections and imitations language if we like, as we speak of the language of the eyes or the eloquence of mute nature, but he warns us against mistaking metaphor for fact. It is indeed mere metaphor to talk of the eloquence of mute nature, or the language of winds and waves. There is no intercommunion of mind with mind by means of a covenanted symbol; but it is only an apparent, not a real, metaphor to say that two pairs of eyes have spoken when they have signalled to one another something which they both understand. A schoolboy at home for the holidays wants another plate of pudding, and does not like to apply officially for more. He catches the servant's eye and looks at the pudding; the servant understands, takes his plate without a word, and gets him some. Is it metaphor to say that the boy asked the servant to do this, or is it not rather pedantry to insist on the letter of a bond and deny its spirit, by denying that language passed, on the ground that the symbols covenanted upon and assented to by both were uttered and received by eyes and not by mouth and ears? When the lady drank to the gentleman only with her eyes, and he pledged with his, was there no conversation because there was neither noun nor verb? Eyes are verbs, and glasses of wine are good nouns enough as between those who understand one another. Whether the ideas underlying them are expressed and conveyed by eyeage or by tonguage is a detail that matters nothing.
VIRTUE is like a rich stone, best plain set; and surely virtue is best, in a body that is comely, though not of delicate features; and that hath rather dignity of presence, than beauty of aspect. Neither is it almost seen, that very beautiful persons are otherwise of great virtue; as if nature were rather busy, not to err, than in labor to produce excellency. And therefore they prove accomplished, but not of great spirit; and study rather behavior, than virtue. But this holds not always: for Augustus Caesar, Titus Vespasianus, Philip le Belle of France, Edward the Fourth of England, Alcibiades of Athens, Ismael the Sophy of Persia, were all high and great spirits; and yet the most beautiful men of their times. In beauty, that of favor, is more than that of color; and that of decent and gracious motion, more than that of favor. That is the best part of beauty, which a picture cannot express; no, nor the first sight of the life. There is no excellent beauty, that hath not some strangeness in the proportion. A man cannot tell whether Apelles, or Albert Durer, were the more trifler; whereof the one, would make a personage by geometrical proportions; the other, by taking the best parts out of divers faces, to make one excellent. Such personages, I think, would please nobody, but the painter that made them. Not but I think a painter may make a better face than ever was; but he must do it by a kind of felicity (as a musician that maketh an excellent air in music), and not by rule. A man shall see faces, that if you examine them part by part, you shall find never a good; and yet altogether do well. If it be true that the principal part of beauty is in decent motion, certainly it is no marvel, though persons in years seem many times more amiable; pulchrorum autumnus pulcher; for no youth can be comely but by pardon, and considering the youth, as to make up the comeliness. Beauty is as summer fruits,) which are easy to corrupt, and cannot last; and for the most part it makes a dissolute youth, and an age a little out of countenance; but yet certainly again, if it light well, it maketh virtue shine, and vices blush.
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