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
In the flowery season of the year, under a sky serene, while the
earth's lap was painted with many colours, when the messenger of
Aurora had put to flight the stars, sleep left the eyes of
Phyllis and of Flora, two maidens whose beauty answered to the
morning light. The breeze of spring was gently whispering, the
place was green and gay with grass, and in the grass itself there
flowed a living brook that played and babbled as it went. And
that the sun's heat might not harm the maidens, near the stream
there was a spreading pine, decked with leaves and spreading far
its interweaving branches, nor could the heat penetrate from
without. The maidens sat, the grass supplied the seat.... They
intend to go to Love's Paradise: at the entrance of the grove a
rivulet murmurs; the breeze is fragrant with myrrh and balsam;
they hear the music of a hundred timbrels and lutes. All the
notes of the birds resound in all their fulness; they hear the
sweet and pleasant song of the blackbird, the garrulous lark, the
turtle and the nightingale, etc.... He who stayed there would
become immortal; every tree there rejoices in its own fruit; the
ways are scented with myrrh and cinnamon and amomum; the master
could be forced out of his house.
The first to shew proof of a deepening effect of Nature on the human
spirit was Dante.
Dante and Petrarch elaborated the Hellenistic feeling for Nature;
hence the further course of the Renaissance displayed all its
elements, but with increased subjectivity and individuality.
No one, since the days of Hellenism, had climbed mountains for the
sake of the view--Dante was the first to do it. And although, in
ranging heaven, earth, hell, and paradise in the _Divina Commedia_,
he rarely described real Nature, and then mostly in comparisons; yet,
as Humboldt pointed out, how incomparably in a few vigorous lines he
wakens the sense of the morning airs and the light on the distant sea
in the first canto of Purgatorio:
The dawn was vanquishing the matin hour,
Which fled before it,-so that from afar
I recognized the trembling of the sea.
And how vivid this is:
The air
Impregnate changed to water. Fell the rain:
And to the fosses came all that the land
Contain'd not, and, as mightiest streams are wont,
To the great river with such headlong sweep
Rush'd, that naught stayed its course.
Public-domain text, read in full here on John Shaqi.
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