121
" And when we finally stood up and turned to face the world, I could feel something climbing through me. I could feel it on its hands and knees inside me, rising up, rising up - and I smiled.
I smiled, thinking, The hunger, because I knew it all too well.
The hunger.
The desire.
Then, slowly, as we walked on, I felt the beauty of it, and I could taste it, like words inside my mouth. "
― Markus Zusak , Getting the Girl (Wolfe Brothers, #3)
122
" At that moment the universe appeared to me a vast machine constructed only to produce evil. I almost doubted the goodness of God, in not annihilating man on the day he first sinned. " The world should have been destroyed," I said, " crushed as I crush this reptile which has done nothing in its life but render all that it touches as disgusting as itself." I had scarcely removed my foot from the poor insect when, like a censoring angel sent from heaven, there came fluttering through the trees a butterfly with large wings of lustrous gold and purple. It shone but a moment before my eyes; then, rising among the leaves, it vanished into the height of the azure vault. I was mute, but an inner voice said to me, " Let not the creature judge his Creator; here is a symbol of the world to come. As the ugly caterpillar is the origin of the splendid butterfly, so this globe is the embryo of a new heaven and a new earth whose poorest beauty will infinitely exceed your mortal imagination. And when you see the magnificent result of that which seems so base to you now, how you will scorn your blind presumption, in accusing Omniscience for not having made nature perish in her infancy.God is the god of justice and mercy; then surely, every grief that he inflicts on his creatures, be they human or animal, rational or irrational, every suffering of our unhappy nature is only a seed of that divine harvest which will be gathered when, Sin having spent its last drop of venom, Death having launched its final shaft, both will perish on the pyre of a universe in flames and leave their ancient victims to an eternal empire of happiness and glory. "
125
" Why dost thou not see that on earth they desires fly from thee? Art thou a not as a child that thinketh to travel to the sun, when he seeth it rising or setting, as it were close to the heart ; but as he traveleth toward it, it seems to go from him ; and when he hath long wearied himself, it is as far off as ever, for the thing he seeketh is in another world? Even such hath been thy labour in seeking for so holy, so pure, so peaceable as society, as might afford thee a contented settlement here. Those that have gone as far as America for satisfaction, have confessed themselves unsatisfied still (643). "
― Richard Baxter , The Saints' Everlasting Rest
127
" Tempestuous plains tell the tale,Windswept wastes do bewail,Haunting Spirit of the land,Seeks the living, seeks the damned.Horizoned edge sheared with grass, Dark Storm Rising in the pass,Ageless Spirit seeks the path,To torment souls to the last.Brooding Spirit upon the plain,Thunderhead gathers for the rain. Light grows dim then bolts with pain,On dry Earth her sin is stained.(Frightened creatures do stampede,Into night, they do recede).Ungodded hand on seasoned blade,Reaps the harvest of the Age.Released from her eternal din,Spirit of the Age rises again.Seeking to plunder and consume, Those who were proud, those who presumed.Spirits rage while storm draws nigh,Upon burning plain and emblazoned sky.It is said giants grapple in the Earth so deep,To contend for souls that they might keep. The Storm spirit now searches the high and the low,To seek her manchild victim in the fields below.Leaves bad wasteland to claim but a fallen man,Denying it Heaven, crowning it, ‘Son of the Damned.’Treacherous Spirit of the far lost night, Tramples souls down denying them light.Storm seethes with furious hiss,Leads men on to bottomless pit.This most ancient of foes has come from her den,To seek the living, to make ready those dead. A living sacrifice is her soul desire,To snatch the soul for black funeral pyre.A double-damned devil, that is she,This one who lies, who claims to make free.A lying spirit, that is her domain, A storm-wracked Fury of self-proclaim.Onward she seeks, this bleak Northern wind,Searching for naught but for a soul akin.Amidst the howling and the rage,To murder again, that is her trade. As this spirit of graves left the plain,She left a wake of dead in shrouded train. Now down from the plain Storm did come,Unto those cities wherein was no sun.There with whirlwind she did rip and scour, For those souls of whom she could tear and devour.She comes to seek the living and the dead,Those who were frightened, those with no dread.Thus upon those she did acclaim,“I am the Mistress of the living and the slain.” O’ haunting Spirit of this land,Taker of life, maker of the damned. --On Villainess Storm, Ch. One Valley of the Damned "
133
" The world is too much with us; late and soon,Getting and spending, we lay waste our powers;Little we see in Nature that is ours;We have given our hearts away, a sordid boon!This Sea that bares her bosom to the moon,The winds that will be howling at all hours,And are up-gathered now like sleeping flowers,For this, for everything, we are out of tune;It moves us not.--Great God! I'd rather beA Pagan suckled in a creed outworn; So might I, standing on this pleasant lea,Have glimpses that would make me less forlorn;Have sight of Proteus rising from the sea;Or hear old Triton blow his wreathed horn. "
134
" Arguments for preservation based on the beauty of wilderness are sometimes treated as if they were of little weight because they are " merely aesthetic" . That is a mistake. We go to great lengths to preserve the artistic treasures of earlier human civilisations. It is difficult to imagine any economic gain that we would be prepared to accept as adequate compensation for, for instance, the destruction of the paintings in the Louvre. How should we compare the aesthetic value of wilderness with that of the paintings in the Louvre? Here, perhaps, judgment does become inescapably subjective; so I shall report my own experiences. I have looked at the paintings in the Louvre, and in many of the other great galleries of Europe and the United States. I think I have a reasonable sense of appreciation of the fine arts; yet I have not had, in any museum, experiences that have filled my aesthetic senses in the way that they are filled when I walk in a natural setting and pause to survey the view from a rocky peak overlooking a forested valley, or by a stream tumbling over moss-covered boulders set amongst tall tree-ferns, growing in the shade of the forest canopy, I do not think I am alone in this; for many people, wilderness is the source of the greatest feelings of aesthetic appreciation, rising to an almost mystical intensity. "
136
" This afternoon, being on Fair Haven Hill, I heard the sound of a saw, and soon after from the Cliff saw two men sawing down a noble pine beneath, about forty rods off. I resolved to watch it till it fell, the last of a dozen or more which were left when the forest was cut and for fifteen years have waved in solitary majesty over the sprout-land. I saw them like beavers or insects gnawing at the trunk of this noble tree, the diminutive manikins with their cross-cut saw which could scarcely span it. It towered up a hundred feet as I afterward found by measurement, one of the tallest probably in the township and straight as an arrow, but slanting a little toward the hillside, its top seen against the frozen river and the hills of Conantum. I watch closely to see when it begins to move. Now the sawers stop, and with an axe open it a little on the side toward which it leans, that it may break the faster. And now their saw goes again. Now surely it is going; it is inclined one quarter of the quadrant, and, breathless, I expect its crashing fall. But no, I was mistaken; it has not moved an inch; it stands at the same angle as at first. It is fifteen minutes yet to its fall. Still its branches wave in the wind, as it were destined to stand for a century, and the wind soughs through its needles as of yore; it is still a forest tree, the most majestic tree that waves over Musketaquid. The silvery sheen of the sunlight is reflected from its needles; it still affords an inaccessible crotch for the squirrel’s nest; not a lichen has forsaken its mast-like stem, its raking mast,—the hill is the hulk. Now, now’s the moment! The manikins at its base are fleeing from their crime. They have dropped the guilty saw and axe. How slowly and majestic it starts! as it were only swayed by a summer breeze, and would return without a sigh to its location in the air. And now it fans the hillside with its fall, and it lies down to its bed in the valley, from which it is never to rise, as softly as a feather, folding its green mantle about it like a warrior, as if, tired of standing, it embraced the earth with silent joy, returning its elements to the dust again. But hark! there you only saw, but did not hear. There now comes up a deafening crash to these rocks , advertising you that even trees do not die without a groan. It rushes to embrace the earth, and mingle its elements with the dust. And now all is still once more and forever, both to eye and ear.
I went down and measured it. It was about four feet in diameter where it was sawed, about one hundred feet long. Before I had reached it the axemen had already divested it of its branches. Its gracefully spreading top was a perfect wreck on the hillside as if it had been made of glass, and the tender cones of one year’s growth upon its summit appealed in vain and too late to the mercy of the chopper. Already he has measured it with his axe, and marked off the mill-logs it will make. And the space it occupied in upper air is vacant for the next two centuries. It is lumber. He has laid waste the air. When the fish hawk in the spring revisits the banks of the Musketaquid, he will circle in vain to find his accustomed perch, and the hen-hawk will mourn for the pines lofty enough to protect her brood. A plant which it has taken two centuries to perfect, rising by slow stages into the heavens, has this afternoon ceased to exist. Its sapling top had expanded to this January thaw as the forerunner of summers to come. Why does not the village bell sound a knell? I hear no knell tolled. I see no procession of mourners in the streets, or the woodland aisles. The squirrel has leaped to another tree; the hawk has circled further off, and has now settled upon a new eyrie, but the woodman is preparing [to] lay his axe at the root of that also. "
― Henry David Thoreau , The Journal, 1837-1861
139
" Everything is melting in nature. We think we see objects, but our eyes are slow and partial. Nature is blooming and withering in long puffy respirations, rising and falling in oceanic wave-motion. A mind that opened itself fully to nature without sentimental preconception would be glutted by nature’s coarse materialism, its relentless superfluity. An apple tree laden with fruit: how peaceful, how picturesque. But remove the rosy filter of humanism from our gaze and look again. See nature spuming and frothing, its mad spermatic bubbles endlessly spilling out and smashing in that inhuman round of waste, rot, and carnage. From the jammed glassy cells of sea roe to the feathery spores poured into the air from bursting green pods, nature is a festering hornet’s nest of aggression and overkill. This is the chthonian black magic with which we are infected as sexual beings; this is the daemonic identity that Christianity so inadequately defines as original sin and thinks it can cleanse us of. Procreative woman is the most troublesome obstacle to Christianity’s claim to catholicity, testified by its wishful doctrines of Immaculate Conception and Virgin Birth. The procreativeness of chthonian nature is an obstacle to all of western metaphysics and to each man in his quest for identity against his mother. Nature is the seething excess of being. "
― Camille Paglia , Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson
