The air was filled with an acrid odour of burnt flesh. Groans and death-cries arose in the midst of the flames, and on the edges of the crumbling roofs monks ran in thousands like ants, and fell into the valley. Yet Johannes Talpa kept on writing his Chronicle. The soldiers of Crucha retreated speedily and filled up all the issues from the monastery with pieces of rock so as to shut up the Porpoises in the burning buildings. And to crush the enemy beneath the ruin they employed the trunks of old oaks as battering-rams. The burning timbers fell in with a noise like thunder and the lofty arches of the naves crumbled beneath the shock of these giant trees when moved by six hundred men together. Soon there was left nothing of the rich and extensive abbey but the cell of Johannes Talpa, which, by a marvellous chance, hung from the ruin of a smoking gable. The old chronicler still kept writing.
This admirable intensity of thought may seem excessive in the case of an annalist who applies himself to relate the events of his own time. However abstracted and detached we may be from surrounding things, we nevertheless resent their influence. I have consulted the original manuscript of Johannes Talpa in the National Library, where it is preserved (_Monumenta Peng_., _K_. _L_6., 12390 _four_). It is a parchment manuscript of 628 leaves. The writing is extremely confused, the letters instead of being in a straight line, stray in all directions and are mingled together in great disorder, or, more correctly speaking, in absolute confusion. They are so badly formed that for the most part it is impossible not merely to say what they are, but even to distinguish them from the splashes of ink with which they are plentifully interspersed. Those inestimable pages bear witness in this way to the troubles amid which they were written. To read them is difficult. On the other hand, the monk of Beargarden’s style shows no trace of emotion. The tone of the “Gesta Penguinorum” never departs from simplicity. The narration is rapid and of a conciseness that sometimes approaches dryness. The reflections are rare and, as a rule, judicious.
V. THE ARTS: THE PRIMITIVES OF PENGUIN PAINTING
The Penguin critics vie with one another in affirming that Penguin art has from its origin been distinguished by a powerful and pleasing originality, and that we may look elsewhere in vain for the qualities of grace and reason that characterise its earliest works. But the Porpoises claim that their artists were undoubtedly the instructors and masters of the Penguins. It is difficult to form an opinion on the matter, because the Penguins, before they began to admire their primitive painters, destroyed all their works.