The Development of the Feeling for Nature in the Middle Ages and Modern Times — John Shaqi
The Development of the Feeling for Nature in the Middle Ages and Modern TimesBiese, Alfred
History
The Development of the Feeling for Nature in the Middle Ages and Modern Times
Biese, Alfred
Nature; Nature in literature
GERMAN.--Horton and Bell, Middlemore, Lytton, Swanwick, Dwight,
Boylau, Bowling, Bell, Aytoun, Martin, Oxenford, Morrison, M'Cullum,
Winkworth, Howorth, Taylor, Nind, Brooks, Lloyd, Frothingham, Ewing,
Noel, Austin, Carlyle, Storr, Weston, Phillips.
SPANISH.--Markham, Major, Bowring, Hasell, M'Carthy, French.
FRENCH.--Anonymous translator of Rousseau.
PORTUGUESE.--Aubertin.
The Translator's thanks are also due to the author for a few
alterations in and additions to the text, and to Miss Edgehill, Miss
Tomlinson, and Dr B. Scheifers for translations from Greek and Latin,
Italian, and Middle German respectively.
INTRODUCTION
Nature in her ever-constant, ever-changing phases is indispensable to
man, his whole existence depends upon her, and she influences him in
manifold ways, in mind as well as body.
The physical character of a country is reflected in its inhabitants;
the one factor of climate alone gives a very different outlook to
northerner and southerner. But whereas primitive man, to whom the
darkness of night meant anxiety, either feared Nature or worshipped
her with awe, civilised man tries to lift her veil, and through
science and art to understand her inner and outer beauty--the
scientist in her laws, the man of religion in her relation to his
Creator, the artist in reproducing the impressions she makes upon
him.
Probably it has always been common to healthy minds to take some
pleasure in her; but it needs no slight culture of heart and mind to
grasp her meaning and make it clear to others. Her book lies open
before us, but the interpretations have been many and dissimilar. A
fine statue or a richly-coloured picture appeals to all, but only
knowledge can appreciate it at its true value and discover the full
meaning of the artist. And as with Art, so with Nature.
For Nature is the greatest artist, though dumb until man, with his
inexplicable power of putting himself in her place, transferring to
her his bodily and mental self, gives her speech.
Goethe said 'man never understands how anthropomorphic he is.' No
study, however comprehensive, enables him to overstep human limits,
or conceive a concrete being, even the highest, from a wholly
impersonal point of view. His own self always remains an encumbering
factor. In a real sense he only understands himself, and his measure
for all things is man. To understand the world outside him, he must
needs ascribe his own attributes to it, must lend his own being to
find it again.
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