The Heart of Nature Part 1

The Heart of Nature.

by Francis Younghusband.

PREFACE

The value of Knowledge and Character is duly impressed upon us.

Of the value of Freedom we are told so much that we have come to regard it as an end in itself instead of only a means, or necessary condition. But Beauty we are half-inclined to connect with the effeminate. Poetry, Music, and Literature are under suspicion with the average English schoolboy, whose love of manliness he will share with nothing else. Yet love of Beauty persists in spite of all discouragement, and will not be suppressed. Natural Beauty, especially, insists on a place in our affections, derived originally from Love, and essentially and inseparably connected with it, Natural Beauty acknowledges supremacy to Love alone. And it deserves our generous recognition, for it is wholesome and refres.h.i.+ng for our souls.

The acute observation and telling description of Natural Beauty is at least as necessary for the enjoyment of life as the pursuit of Natural Science to which so much attention is paid. For the concern of the former is the character, and of the latter only the cause of natural phenomena; and of the two, character is the more important. It is, indeed, high time that we Englishmen were more awake than we are to the value of Natural Beauty. For we are born lovers of Nature, and no more poetic race than ourselves exists. Our country at its best, on an early summer day, is the loveliest little home in all the world.

And we go out from this island home of ours to every land. We have unrivalled opportunities, therefore, of seeing innumerable types of natural objects. By observing Nature in so many different aspects, and by comparing our impressions with one another, we ought to understand Nature better than any other race. And by entering more readily into communion with her we, better than others, should realise the Beauty she possesses.

I am conscious of having myself made most inadequate use of the splendid opportunities my travels afforded me of seeing the Beauty of Nature. So I am all the more anxious that those following after me should not, by like omission, commit the same sin against themselves and against our country. We owe it to ourselves and to mankind to give full rein to our instinctive love of Natural Beauty, and to train and refine every inclination and capacity we have for appreciating it till we are able to see all those finer glories of which we now discern only the first faint glow.

And if any other country excel us in appreciation, then it behoves us to brace ourselves up to emulate and surpa.s.s that country, and learn how to understand Nature better and see more Beauty. For in love of Natural Beauty, and in capacity for communicating that love, England ought to be preeminent. She above every other country should come nearest to the Heart of Nature.

F. E. Y.

_June,_ 1921.

INTRODUCTION

Town children let loose in a meadow dash with shouts of joy to pluck the nearest flowers. They ravenously pick handfuls and armfuls as if they could never have enough. They are exactly like animals in the desert rus.h.i.+ng to water. They are satisfying a great thirst in their souls--the thirst for Beauty. Some of us remember, too, our first sight of snowy mountains in the Alps or in the Himalaya.

We recall how our spirits _leaped_ to meet the mountains, how we gasped in wonder and greedily feasted our eyes on the glorious spectacle. In such cases as these there is something in the natural object that appeals to something in us. Something in us rushes out to meet the something in the natural object. A responsive chord is struck. A relations.h.i.+p is established. We and the natural object come into harmony with one another. We have recognised in the flower, the mountain, the landscape, something that is the same as what is in ourselves. We fall in love with the natural object. A marriage takes place. Our soul is wedded to the soul of the natural object. And at the very moment of wedding Beauty is born. It springs from Love, just as Love itself originally sprang from the wedding of primitive man and woman.

In this process all will depend upon the mood. If we are not in the mood for it, we are unreceptive of Nature's impressions, and we are irresponsive. We do not come into touch with Nature. Consequently we see no Beauty. But if we are in a sensitive and receptive mood, if our minds are not preoccupied, and if our soul is open to the impressions which Nature is ever raining on it, then we respond to Nature's appeal. We feel ourselves in tune with her. We come into communion with her, and we see Beauty.

If we are ourselves feeling sad and sorrowful when we look out on Nature, and there all should happen to be bright and gay, we shall feel out of harmony with Nature, we shall not feel in touch with her, and we shall not see Beauty.

On the other hand, when we are in a glad and overflowing mood we shall be extraordinarily responsive to Nature's appeal, and see Beauty in a rugged, leafless oak tree or a poor old woman at the corner of some mean street. And if when we are in such a mood Nature happens to be at her best and brightest, as on some spring morning, the Beauty we shall then see will be overpowering, and we shall scarcely be able to contain ourselves for ecstasy of joy.

We shall have discovered an ident.i.ty between what is in Nature and what is in us. In looking on Nature, we shall have been introduced into a Presence, greater than ourselves but like ourselves, which stirs in us this which we feel. When we see Beauty in Nature we are discovering that Nature is not merely a body, but _has_ or _is_ a soul. And the joy we feel is produced by the satisfaction our soul feels in coming into touch and harmony with this soul of Nature.

Our soul is recognising samenesses between what is in it and what is in the soul of Nature, and feels joy in the recognition.

And the instinct of fellows.h.i.+p with our kind impels us to communicate to others what we ourselves have felt. We want to tell others what we have seen and what we have experienced.

We long, too, to share the joy which others also must have felt in contemplating Nature. We want especially to know and feel what those with far more sensitive souls than our own--the great poets, painters, and musicians--have felt. So we communicate our feelings to others; and we communicate with others, either personally or through their books or pictures or music, so that we may find out from them what more to look for, and may know better how to look for it. By so doing, our souls become more sensitive to the impressions of Nature, and we are better able to express those impressions. Our power of vision increases. Our soul's eye acquires a keener insight and sees deeper into the soul of Nature. We are able to enter more into the spirit of Nature, and the spirit of Nature is able to enter more into us. We arrive at a completer understanding between ourselves and Nature, are more in harmony with her, and consequently see more Beauty.

We see, indeed, what Nature really is. We see the reality behind the appearance--the content within the outward form. We are not for the moment concerned with the _cause_ but with the _character_ of Nature. We see the "I" behind the outward manifestation and representation. And if we have sympathy and understanding enough and are able truly to enter into the soul of Nature, we shall see the real "I" behind the common everyday "I"--just as the few who intimately know some great man see the real man behind the man who appears in the public eye--the real Beaconsfield or Kitchener behind the Beaconsfield or Kitchener of the daily press. And, as we see more of this real "I" in Nature and are better able to get in touch and harmony with her, so shall we see greater Beauty in Nature.

If we have petty, meagre souls we shall find little in common with the great soul of Nature, and consequently see only shallow Beauty.

If we have great souls we shall have more in common and see more Beauty. But to arrive at a full understanding of the real Nature we must observe her from every point of view and see her in all her aspects. Only so shall we be able to understand her real self and see her full Beauty. And her aspects and the points of view from which we may observe them change so incessantly that the greatest of us falters. The more we see of Nature, the more we find there is to understand. And the more we understand Nature and commune with her, the more Beauty do we find there is to see. So to arrive at a complete understanding of Nature and see all her Beauty is beyond the capacity of us finite men.

Yet we are impelled to go on striving to see all we can. And in the following pages an attempt is made to show how, more Beauty in Nature may be discovered.

Often in the Himalaya I have watched an eagle circling overhead. I have sat on the mountain-side and watched it sail majestically along in graceful curves and circles, and with perfect ease and poise. Far above the earth it would range, and seemingly without exertion glide easily over tracts that we poor men could only enter by prodigious effort. Captivated by its grace of motion, and jealous of its freedom, I would for hours watch it. And this eagle I knew, from the height and distance from which it would swoop down on its prey, to be possessed of eyesight of unrivalled keenness in addition to its capacity for movement.

So this bird had opportunities such as no human being--not even an airman--has of seeing the earth and what is on it. At will it could glide over the loftiest mountain ranges. At will it could sail above the loveliest valleys. At will it could perch upon any chosen point and observe things at close range. In a single day this one eagle might have seen the finest natural scenery in the world--the highest mountain, the most varied forest, thickly populated plains and bare, open plains, peoples, animals, birds, insects, trees, flowers, all of the most varied description. In one day, and in the ordinary course of its customary circlings and sailings, it might have seen what men come from the ends of the Earth to view, and are content if they see only a hundredth part of what the eagle sees every day.

From its mountain eerie in Upper Sikkim it might have seen the rose of dawn flus.h.i.+ng the snowy summits of Kinchinjunga, and far away Mount Everest. And soaring aloft, the eagle might have looked out over the populous plains of India and seen, like silver streaks, the rivers flowing down from the Himalaya to join in the far distance the mighty Mother Ganges. Then its eye might have ranged over the vast forest which clothes in dense green mantle the plain at the foot of the mountains from Nepal to Bhutan and a.s.sam, and from the plain spreads up on the mountain-sides themselves and reaches to the very borders of eternal snow. Over this vast forest with its treasures of tree and plant, animal and insect life, tropical, temperate, and alpine, the eagle might have soared; and then, pa.s.sing over the Himalayan watershed, have looked down upon the treeless, open, undulating, almost uninhabited plain of Tibet, and in the distance seen the great Brahmaputra River, which, circling round Bhutan, cuts clean through the Himalaya and, turning westward, also joins the Ganges.

In the whole world no more wonderful natural scenery is to be found.

And the eagle with no unusual effort could see it all in a single day, and see it with a distinctness of sight no man could equal. But keen though its eyesight was and wide though its range, the eagle in all that beautiful region would see not a single beauty. Neither in the sunrise, nor in the snowy mountains, nor in the luxuriant tropical forest, nor in the flowers, the birds, the b.u.t.terflies, nor in the people and animals, nor in the cataracts and precipices would it see any beauty whatever. The mountain would be to it a mere outline, the forests a patch of green, the rivers streaks of white, the animals just possible items of food. The eagle would see much, but it would see no beauty.

Perhaps we shall understand why it is that the eagle with these unbounded opportunities sees no beauty if we consider the case of a little midge buzzing round a man's body. The midge is roughly in about the same relation to the body of a man that the eagle is to the body of the Earth. The midge in its hoverings sees vast tracts of the human body; sees the features--the nose, the eye, the mouth; sees the trunk and the limbs and the head. But even in the most beautiful of men it would see no beauty. And it would see no beauty because it would have no soul to understand expression. It might be hovering round the features of a man when the smile on his lips and the exaltation in his eyes were expressive of the highest ecstasy of soul, but the midge would see no beauty in those features because it had not the soul to enter into the soul of the man and understand the expression on his face. All the little shades and gradations and tones and lights in the features of the man would be quite meaningless to the midge because it would know nothing of the man's soul, of which the features and the changes and variations in them were the outward manifestation. The midge would know nothing of the reality of the man which lay hidden behind the appearance.

It is the same with the eagle in respect to natural features as it is with the midge in respect to the features of the man. The eagle sees only the bare outward appearance of Nature, and sees no meaning in her features. It has no soul to enter into the soul of Nature and understand what the natural features are expressing. The delicate lights and shades and changes on the face of Nature have no meaning for it. It sees the bare appearance. It sees nothing of the reality behind the appearance. It has no soul to wed to the soul of Nature. It therefore sees no beauty.

But now supposing that among all the midges that buzz about a man there happened to be an artist-midge with exceeding sensitiveness of soul, one which was able to recognise a fundamental ident.i.ty of life between it and the man, one which was able to recognise samenesses of feelings and emotions and aspirations, and by recognition of the samenesses between it and the man enter into the very life and soul of the man, then that midge would be able to understand all the varying expressions on the face of the man, and by understanding those expressions see their beauty.

We cannot expect an eagle in a similar way to have that sensitiveness of soul which would enable it to enter into the soul of Nature, understand Nature, and so see its Beauty. But what we cannot expect of the eagle we can expect of man. We can expect an Artist to appear who will be to the Earth what the artist-midge was to the man.

Man does to some extent enter into the soul of Nature. He has _some_ understanding of Nature. He sees Beauty; and whenever he sees Beauty in Nature he is in touch with the soul of Nature. Even ordinary men see some of the Beauty of Nature and have some feeling of kins.h.i.+p with her. They have something in common between their soul and the soul of Nature. They have the sense of more in common between them and Nature than a midge has between it and a man.

And in a delicately sensitive man such as an artist--painter, poet, or musician--this sense of kins.h.i.+p with Nature is highly developed. In regard to his relations.h.i.+p with Nature he is like the finely sensitive and cultured artist-midge would be in regard to a man--the midge who, through understanding the inner soul and character of the man, was able to read the expression on his features and see their beauty.

What we ordinary men have to do, and what we especially want those gifted with unusually sensitive souls to do, is to bear in mind the difficulties which the midge has in understanding us and in seeing any beauty in us, and the way in which it would have to train and cultivate its faculties before it could ever hope to understand the expression on our features--to bear this in mind, and then to take ourselves in hand and develop the soul within us till it is fine enough and great enough to enter into the great soul of Nature.

The sense of Beauty we all possess in some slight degree is in itself a proof that behind the outward appearance of Nature there is a spiritual reality--an "I"--just as behind the outward appearance of the man which the artist-midge sees there is the "I" of the man. And by cultivating this sense--that is, by training and developing our capacity to see deeper into the heart of Nature, see more significance and meaning in each shade and change of her features, and read more understandingly what is going on deep within her soul--we shall enable ourselves to see a fuller and richer Natural Beauty.

So we look forward to the appearance among us of a great Artist who, born with an exceptionally sensitive soul, will deliberately heighten and intensify this sensitiveness, learn what others have experienced, compare notes with them, and train himself to detect the significance of every slightest indication which Nature gives of the workings of the soul within her; and then, recognising the sameness between his own feelings and the feelings of Nature, will fall deeply in love with her, give himself up utterly to her, marry her, and in their marriage give birth to Beauty of surpa.s.sing richness and intensity.

What we await, then, is an Artist with a soul worthy of being wedded to Nature. Puny, shallow artists will not be able to see much more of Nature than a midge sees of a man. What we want is a man with the physique, the abounding health and spirits, the fine intellect, the poetic power and imagination, the love of animals and his fellow-men, the skill, fitness, and gay courage of a Julian Grenfell.

We want a man with the opportunities he had of mixing from childhood in London and in country houses with every grade and condition of men, with statesmen, soldiers, men of art, hunting men, racing men, schoolboys, undergraduates, literary men, gamekeepers, old family retainers--every kind and sort of human being. We want a man of such qualifications combined with the qualifications of a Darwin--with his love of natural history, his power of close and accurate observation, his genius for drawing right inferences from what he observed, his wide knowledge of Nature in her many manifestations, his sympathetic touch with every plant and animal, and his warm, affectionate nature in all human intercourse.

We want, in fact, a Naturalist-Artist--a combination of Julian Grenfell and Darwin. And this is no outrageously impossible, but a very likely and fitting combination. For Julian Grenfell wrote great poetry even in the trenches in Flanders between the two battles of Ypres. And with his love of country life, shooting, fis.h.i.+ng, and hunting, his inclination might very easily have been directed towards natural history. If it had been and the opportunity had offered, we might have had the very type of Naturalist-Artist we are now awaiting. He would have had the physical fitness and capacity to endure hards.h.i.+ps which are required for travel in parts of the Earth where the Natural Beauty is finest, and he would have had, too, the sensitiveness of soul to receive impressions and the power of expressing himself so that others might share with him the impressions he had felt. If after pa.s.sing through the earlier stages of shooting and hunting birds and animals he had come to the more profitable stage of observing them, and had devoted to the observation of their habits and ways of life the same skill and ac.u.men which he had shown in hunting them, he might, with his innate and genuine love of animals, very well have become a great naturalist as well as what he was--a great sportsman and a writer of great poetry.

It is for the advent of such Naturalist-Artist that we wait. But we have to prepare the way for him and do our share in helping to produce him. And this will now be my endeavour, for it so happens that I have been blessed with opportunities--some of my own making, some provided for me--of seeing Nature on a larger scale and under more varied aspects than falls to the lot of most men. I am ashamed when I reflect how little use I have made of those opportunities--how little I was prepared and trained to make the most of them. But this at least I can do: I can point out to the coming Artist those parts of the world where he is likely to see the Beauty of Nature most fully, and in greatest variety.

With this end in view I shall begin with the Sikkim Himalaya, over which the eagle flew, because it contains within a small area a veritable compendium of Nature. Rising directly out of the plains of India, practically within the tropics, these mountains rise far above the limits of perpetual snow. Their base is covered with luxuriant vegetation of a truly tropical character, and this vegetation extends through all the ranges from tropical to temperate and arctic. The animal, bird, and insect life does the same. And here also are to be found representative men of every clime. Similarly does the natural scenery vary from plain to highest mountain. There are roaring torrents and wide, placid rivers. The Sikkim Himalaya, looking down on the plains of India on the one side and the steppes of Tibet on the other, is the most suitable place I know for a study of Natural Beauty.

But there are beauties in Kashmir and in the great Karakoram Mountains behind Kashmir which are not found in Sikkim. And there are beauties in the Desert which are not found in either Sikkim or Kashmir. So I must take the Artist to these regions also.

And I choose Sikkim and Kashmir because these are easily accessible regions to which men with a thirst for Beauty can return again and again, till they are saturated with the atmosphere and have imbibed the true spirit of the region--till they have realised how much these natural features express sentiments which they, too, are wanting to express--their aspirations for the highest and purest, their longing for repose, their delight in warmth and affection, or whatever their sentiment might be. Thousands of Englishmen, cultured Indians, and travellers from all over the world, visit the Himalaya every year--some for sport, some for health, some for social enjoyment. Amongst these may be our Naturalist-Artist who year after year, drawn to Sikkim and Kashmir by his love of Natural Beauty, would learn to know Nature in the wonderfully varied aspects under which she is to be seen in those favoured regions, who would come into ever-deepening communion with her, would yearly see more Beauty in her, and would communicate to us the enjoyment he had felt.

But Natural Beauty includes within its scope a great deal more than only natural scenery. It includes the beauty of all natural objects--men and women as well as mountains, animals, and plants. So these also the Artist will have to keep within his purview. And his love of Nature, and consequently his capacity for seeing Natural Beauty, will be all the surer if he uses his head as well as his heart in forming his final conception of her--that is to say, his final for the moment, as no man ever has or _can_ come to a literally final conception of Nature. So the Artist will pause now and then to test his view of Nature in the light of pure reason. For he will be well enough aware that neither Love nor Beauty can be perfect unless it be irradiated with Truth, and the three he will ever strive to keep together.

PART I

THE HEART OF NATURE

CHAPTER I

THE SIKKIM HIMALAYA