Today, one last passage from The Moth Snow Storm: Nature and Joy by Michael McCarthy, accompanied by some photographic time-traveling: a journey through the woods behind my studio from winter to spring and back.
"It is a peculiar property of the earth that it offers us beauty as well as the means to survive, but it is also a wondrous property, and it greatly moved us -- as behaviourally modern humans, anyway. Hence over about forty thousand years we have steadily formalised our appreciation and our celebration of it, in what we have come to call art, from Lascaux to Leonardo. Until, that is, the last century. In the last hundred years or so, with the advent of modernism, a new artistic philosophy for an industrial age (and also for a world whose optimism had been irreparably fractured by the First World War), many of our society's high cultural elites have consciously rejected the primacy of beauty, seeing its veneration as outmoded and complascent, and holding that the true purpose of art should be to challenge preconceptions; and they have largely forgotten all about, or simply ignored, where beauty comes from in the first place, which is the natural world.
"In more recent decades the process has gone even further, and beauty has become suspect.
"[...] There is no denying that the veneration of the beauty of nature, which Wordsworth made the fount of his philosophy, has largely ceased to figure in high culture since modernism contemptuously swept it aside; and modernism's triumph was of course comprehensive, in painting and sculpture, in music and in poetry. In the early part of the 20th century, for example, there was a substantial group of English poets collectively known as the Georgians who wrote extensively about nature and were read by large audiences; some were quite good, some were not, but all except one were consigned to lasting oblivion by T.S. Eliot's The Wasteland in 1922 and the modernist revolution which followed (the exception, of course, being the wonderful Edward Thomas, who was anyway very much more than a 'Georgian nature poet'). We retain the legacy of those attitudes. So beauty in general and the natural beauty of the earth in particular have gone largely unsanctioned as objects of relevance by the cultural elites of the 20th and now of the 21st century, and we hear little of them from those quarters; and yet, of course, many ordinary people who do not feel they must be aligned with prevailing cultural modes of thought have been drawn to the beauty of nature as much as people ever were, and I am one of them.
"Let me tell you about a wood. Five times in one week, I went to this wood. Five separate trips, on five successive days. And each time, after the first time, I stopped at the gate, I paused before entering. I savoured the moment. It felt like the minute before sex, with a new lover who is making ready -- the elevated heartbeat, the skin-prickle, the certainty of impending pleasure -- but it was even more than that, it was the anticipation of a sort of ecstasy, at beholding what the woods contained, hidden in its depths, which was something truly exceptional, as exceptional as a crashed flying saucer, I found myself thinking....Each time I stopped at the gate I said to myself, I know what is in there....
It was a blue that shocked you.
It was a blue that made you giddy.
It was a blue that flowed like smoke over the woodland floor, so that the trees appeared to be rising out of it, which was not solid like a blue door might be but constantly morphing in tone with the light and shade, now lilac, now cobalt, a blue which was gentle but formidably strong, so intense as to be mesmerising: at some moments it was hard to believe it was composed of flowers. But that was the beauty and the joy of the bluebells, their floral richness and their profusion, a dozen blue bell-heads nodding on every stem, a hundred thousand stems pressing together in every glade until it ceased to be plants, it was just an overwhelming incredible blueness at the bottom of a wood....
"In that wood, in that spring not long ago, for five days in succession I was struck dumb by the beauty of the earth. For five days I went back purposely to look at that colour, that living colour, because when I accidentally came across it, it was at its peak, and I knew that soon it would fade. Day after day after day after day after day. And I told no one. I think I was...what? Ashamed? No, not at all; but I am influenced by prevailing cultural norms as much as the next person, and I suppose I felt that declaiming about five successive days of bluebell-peeping would be regarded as eccentric? Or something? Yet I was drawn back there ineluctably, to glut my senses on colour. Without telling a soul. It felt almost like being a part of the underground....
"For if the beauty of nature is not high in official cultural favour, as we set out into the 21st century, it still holds its magnetism for countless unpolemical minds, with a force that strongly suggests it is rooted in our underlying bond with the natural world, and that culture is being trumped by instinct. That is certainly the case with me.
"I do not care a fig that modernism may have cast beauty aside, and that the legacy of that rejection may be with us today; to me, the beauty of the natural world retains its joy-giving power and its importance undiminished by artistic, cultural or philosophical fashion -- indeed, its importance is increased immeasurably by the fact that now it is mortally threatened."
Pictures: Winter, spring, and winter again on our Devon hillside. Words: The passage quoted above is from The Moth Snowstorm: Nature and Joy by Michael McCarthy (New York Review of Books edition, 2015), which I highly recommend. All rights reserved by the author. The little poem/tale in the picture captions today is mine.