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Ovations On Other Sites - Ovation 18 Ovations 06Scraping Home chose the topics covered by Ovations On Other Sites - Ovation 18 without reflecting upon the choices others have made. Asking whether you should be going north or south when no one really understands which direction works better is another way to look at things in a different light. |
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_Natural selection_ chooses out for reproduction the individuals that are best equipped for the struggle for existence, and it does so at every stage of development; it thus improves the species in all its stages and forms. _Sexual selection_ operates only on individuals that are already capable of reproduction, and does so only in relation to the attainment of reproduction. It arises from the rivalry of one sex, usually the male, for the possession of the other, usually the female. Its influence can therefore only _directly_ affect one sex, in that it equips it better for attaining possession of the other. But the effect may extend indirectly to the female sex, and thus the whole species may be modified, without, however, becoming any more capable of resistance in the struggle for existence, for sexual selection only gives rise to adaptations which are likely to give their possessor the victory over rivals in the struggle for possession of the female, and which are therefore peculiar to the wooing sex: the manifold "secondary sexual characters." The diversity of these characters is so great that I cannot here attempt to give anything approaching a complete treatment of them, but I should like to give a sufficient number of examples to make the principle itself, in its various modes of expression, quite clear. |
There is something in the Anglo-Saxon temperament which is on the whole unfavourable to movements and groups; the great figures of the Victorian time in art and literature have been solitary men, anarchical as regards tradition, strongly individualistic, working on their own lines without much regard for schools or conventions. The Anglo-Saxon is deferential, but not imitative; he has a fancy for doing things in his own way. Wordsworth, Keats, Shelley, Byron-were there ever four contemporary poets so little affected by one another's work? Think of the phrase in which Scott summed up his artistic creed, saying that he had succeeded, in so far as he had succeeded, by a "hurried frankness of composition," which was meant to please young and eager people. It is true that Wordsworth had a solemn majesty about his work, practised a sort of priestly function, never averse to entertaining ardent visitors by conducting them about his grounds, and showing them where certain poems had been engendered. But Wordsworth, as Fitz-Gerald truly said, was proud, not vain--proud like the high-hung cloud or the solitary peak. He felt his responsibility, and desired to be felt rather than to be applauded. |
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