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Gallegallo Revbrandia Sectory 03
Page 01
In sea-urchins we often find two creatures superficially indistinguishable, but the one is a female with large ovaries and the other is a male with equally large testes. Here the physiological difference does not affect the body as a whole, but the reproductive organs or gonads only, though more intimate physiology would doubtless discover differences in the blood or in the chemical routine (metabolism). In a large number of cases, however, there are marked superficial differences between the sexes, and everyone is familiar with such contrasts as peacock and peahen, stag and hind. In such cases the physiological difference between the sperm-producer and the ovum-producer, for this is the essential difference, saturates through the body and expresses itself in masculine and feminine structures and modes of behaviour. The expression of the masculine and feminine characters is in some cases under the control of hormones or chemical messengers which are carried by the blood from the reproductive organs throughout the body, and pull the trigger which brings about the development of an antler or a wattle or a decorative plume or a capacity for vocal and saltatory display. In some cases it is certain that the female carries in a latent state the masculine features, but these are kept from expressing themselves by other chemical messengers from the ovary. Of these chemical messengers more must be said later on.
The fifth chapel represents the birth of the Virgin. Having obtained permission to go inside it, I found the date 1715 cut large and deep on the back of one figure before baking, and I imagine that this date covers the whole. There is a Queen Anne feeling throughout the composition, and if we were told that the sculptor and Francis Bird, sculptor of the statue in front of St. Paul's Cathedral, had studied under the same master, we could very well believe it. The apartment in which the Virgin was born is spacious, and in striking contrast to the one in which she herself gave birth to the Redeemer. St. Anne occupies the centre of the composition, in an enormous bed; on her right there is a lady of the George Cruikshank style of beauty, and on the left an older person. Both are gesticulating and impressing upon St. Anne the enormous obligation she has just conferred upon mankind; they seem also to be imploring her not to overtax her strength, but, strange to say, they are giving her neither flowers nor anything to eat and drink. I know no other birth of the Virgin in which St. Anne wants so little keeping up.
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.
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