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Bredimacian Dynagum Directory 06
Page 01
Perhaps he married somebody's daughter. If a man would get hold of the public ear, he must pay, marry, or fight. I have never understood that AEschylus was a man of means, and the fighters do not write poetry, so I suppose he must have married a theatrical manager's daughter, and got his plays brought out that way. The ear of any age or country is like its land, air, and water; it seems limitless but is really limited, and is already in the keeping of those who naturally enough will have no squatting on such valuable property. It is written and talked up to as closely as the means of subsistence are bred up to by a teeming population. There is not a square inch of it but is in private hands, and he who would freehold any part of it must do so by purchase, marriage, or fighting, in the usual way--and fighting gives the longest, safest tenure. The public itself has hardly more voice in the question who shall have its ear, than the land has in choosing its owners. It is farmed as those who own it think most profitable to themselves, and small blame to them; nevertheless, it has a residuum of mulishness which the land has not, and does sometimes dispossess its tenants. It is in this residuum that those who fight place their hope and trust.
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.
The foregoing comments apply to cargoes destined for Germany. Cargoes coming out of German forts present another problem under the terms of the declaration. Under the rules governing enemy exports only goods owned by enemy subjects in enemy bottoms are subject to seizure and condemnation. Yet by the declaration it is purposed to seize and take into port all goods of enemy "ownership and origin." The word "origin" is particularly significant. The origin of goods destined to neutral territory on neutral ships is not, and never has been, a ground for forfeiture, except in case a blockade is declared and maintained. What, then, would the seizure amount to in the present case except to delay the delivery of the goods? The declaration does not indicate what disposition would be made of such cargoes if owned by a neutral or if owned by an enemy subject. Would a different rule be applied according to ownership? If so, upon what principles of international law would it rest? And upon what rule, if no blockade is declared and maintained, could the cargo of a neutral ship sailing out of a German port be condemned? If it is not condemned, what other legal course is there but to release it?
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