Yet when I turn inland I see that all this beauty has been produced by the mere13 interaction of the sea and the barren moors14 of the interior. Nothing could be flatter or more desolate15 than the country whose seaward escarpment gives rise to these romantic coves16 and pyramidal rocky islets. It stretches away for miles in a level upland waste, only redeemed17 from complete barrenness by the low straggling bushes of the dwarf18 furze, whose golden blossom is now interspersed19 with purple patches of ling or the paler pink flowers of the Cornish heath. Here, then, I can see beauty in nature actually beginning to be. I can trace the origin of all these little bays from small rills which have worn themselves gorge-like valleys through the hard igneous20 rock, or else from fissures21 finally giving rise to sea-caves, like the one into which I rowed this morning for my early swim. The waves penetrate22 for a couple of hundred yards into the bowels23 of the rock, hemmed24 in by walls and roof of dark serpentine, with its interlacing veins25 of green and red bearing witness still to its once molten condition; and at length in most cases they produce a blow-hole at the top, communicating with the open air above, either because the fissure4 there crops up to the surface, or else through the agency of percolation26. At last, the roof falls in; the boulders27 are carried away by the waves; and we get a long and narrow cove7, still bounded on either side by tall cliffs, whose summits the air and rainfall slowly wear away into jagged and exquisite28 shapes. Yet in all this we see nothing but the natural play of cause and effect; we attribute the beauty of the scene merely to the accidental result of inevitable29 laws; we feel no necessity for calling in the aid of any underlying30 ?sthetic intention on the part of the sea, or the rock, or the creeping lichen, in order to account for the loveliness which we find in the finished picture. The winds and the waves carved the coast into these varied31 shapes by force of blind currents working on hidden veins of harder or softer crystal: and we happen to find the result beautiful, just as we happen to find the inland level dull and ugly. The endless variety of the one charms us, while the unbroken monotony of the other wearies and repels32 us.
Here on the cliff I pick up a pretty fern and a blossoming head of the autumn squill—though so sweet a flower deserves a better name. This fern, too, is lovely in its way, with its branching leaflets and its rich glossy33-green hue34. Yet it owes its shape just as truly to the balance of external and internal forces acting35 upon it as does the Cornish coast-line. How comes it then that in the one case we instinctively36 regard the beauty as accidental, while in the other we set it down to a deliberate ?sthetic intent? I think because, in the first case, we can actually see the forces at work, while in the second they are so minute and so gradual in their action as to escape the notice of all but trained observers. This fern grows in the shape that I see, because its ancestors have been slowly moulded into such a form by the whole group of circumstances directly or indirectly37 affecting them in all their past life; and the germ of the complex form thus produced was impressed by the parent plant upon the spore38 from which this individual fern took its birth. Over yonder I see a great dock-leaf; it grows tall and rank above all other plants, and is able to spread itself boldly to the light on every side. It has abundance of sunshine as a motive-power of growth, and abundance of air from which to extract the carbon that it needs. Hence it and all its ancestors have spread their leaves equally on every side, and formed large flat undivided blades. Leaves such as these are common enough; but nobody thinks of calling them pretty. Their want of minute subdivision, their monotonous39 outline, their dull surface, all make them ugly in our eyes, just as the flatness of the Cornish plain makes it also ugly to us. Where symmetry is slightly marked and variety wanting, as in the cabbage leaf, the mullein, and the burdock, we see little or nothing to admire. On the other hand, ferns generally grow in hedge-rows or thickets40, where sunlight is much interrupted by other plants, and where air is scanty41, most of its carbon being extracted by neighbouring plants which leave but little for one another's needs. Hence you may notice that most plants growing under such circumstances have leaves minutely sub-divided, so as to catch such stray gleams of sunlight and such floating particles of carbonic acid as happen to pass their way. Look into the next tangled42 and overgrown hedge-row which you happen to pass, and you will see that almost all its leaves are of this character; and when they are otherwise the anomaly usually admits of an easy explanation. Of course the shapes of plants are mostly due to their normal and usual circumstances, and are comparatively little influenced by the accidental surroundings of individuals; and so, when a fern of such a sort happens to grow like this one on the open, it still retains the form impressed upon it by the life of its ancestors. Now, it is the striking combination of symmetry and variety in the fern, together with vivid green colouring, which makes us admire it so much. Not only is the frond43 as a whole symmetrical, but each frondlet and each division of the frondlet is separately symmetrical as well. This delicate minuteness of workmanship, as we call it, reminds us of similar human products—of fine lace, of delicate tracery, of skilful44 filagree or engraving45. Almost all the green leaves which we admire are noticeable, more or less, for the same effects, as in the case of maple46, parsley, horse-chestnut, and vine. It is true, mere glossy greenness may, and often does, make up for the want of variety, as we see in the arum, holly47, laurel, and hart's-tongue fern; but the leaves which we admire most of all are those which, like maidenhair, are both exquisitely48 green and delicately designed in shape. So that, in the last resort, the beauty of leaves, like the beauty of coast scenery, is really due to the constant interaction of a vast number of natural laws, not to any distinct aesthetic49 intention on the part of Nature.
On the other hand, the pretty pink squill reminds me that semi-conscious aesthetic design in animals has something to do with the production of beauty in nature—at least, in a few cases. Just as a flower garden has been intentionally50 produced by man, so flowers have been unconsciously produced by insects. As a rule, all bright red, blue, or orange in nature (except in the rare case of gems) is due to animal selection, either of flowers, fruits, or mates. Thus we may say that beauty in the inorganic51 world is always accidental; but in the organic world it is sometimes accidental and sometimes designed. A waterfall is a mere result of geological and geographical52 causes, but a bluebell53 or a butterfly is partly the result of a more or less deliberate ?sthetic choice.
The End
点击收听单词发音
1 precipice | |
n.悬崖,危急的处境 | |
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2 Mediterranean | |
adj.地中海的;地中海沿岸的 | |
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3 serpentine | |
adj.蜿蜒的,弯曲的 | |
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4 fissure | |
n.裂缝;裂伤 | |
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5 fissured | |
adj.裂缝的v.裂开( fissure的过去式和过去分词 ) | |
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6 disintegration | |
n.分散,解体 | |
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7 cove | |
n.小海湾,小峡谷 | |
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8 lichen | |
n.地衣, 青苔 | |
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9 pinnacles | |
顶峰( pinnacle的名词复数 ); 顶点; 尖顶; 小尖塔 | |
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10 severed | |
v.切断,断绝( sever的过去式和过去分词 );断,裂 | |
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11 gulls | |
n.鸥( gull的名词复数 )v.欺骗某人( gull的第三人称单数 ) | |
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12 cormorants | |
鸬鹚,贪婪的人( cormorant的名词复数 ) | |
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13 mere | |
adj.纯粹的;仅仅,只不过 | |
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14 moors | |
v.停泊,系泊(船只)( moor的第三人称单数 ) | |
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15 desolate | |
adj.荒凉的,荒芜的;孤独的,凄凉的;v.使荒芜,使孤寂 | |
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16 coves | |
n.小海湾( cove的名词复数 );家伙 | |
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17 redeemed | |
adj. 可赎回的,可救赎的 动词redeem的过去式和过去分词形式 | |
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18 dwarf | |
n.矮子,侏儒,矮小的动植物;vt.使…矮小 | |
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19 interspersed | |
adj.[医]散开的;点缀的v.intersperse的过去式和过去分词 | |
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20 igneous | |
adj.火的,火绒的 | |
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21 fissures | |
n.狭长裂缝或裂隙( fissure的名词复数 );裂伤;分歧;分裂v.裂开( fissure的第三人称单数 ) | |
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22 penetrate | |
v.透(渗)入;刺入,刺穿;洞察,了解 | |
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23 bowels | |
n.肠,内脏,内部;肠( bowel的名词复数 );内部,最深处 | |
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24 hemmed | |
缝…的褶边( hem的过去式和过去分词 ); 包围 | |
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25 veins | |
n.纹理;矿脉( vein的名词复数 );静脉;叶脉;纹理 | |
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26 percolation | |
n.过滤,浸透;渗滤;渗漏 | |
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27 boulders | |
n.卵石( boulder的名词复数 );巨砾;(受水或天气侵蚀而成的)巨石;漂砾 | |
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28 exquisite | |
adj.精美的;敏锐的;剧烈的,感觉强烈的 | |
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29 inevitable | |
adj.不可避免的,必然发生的 | |
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30 underlying | |
adj.在下面的,含蓄的,潜在的 | |
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31 varied | |
adj.多样的,多变化的 | |
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32 repels | |
v.击退( repel的第三人称单数 );使厌恶;排斥;推开 | |
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33 glossy | |
adj.平滑的;有光泽的 | |
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34 hue | |
n.色度;色调;样子 | |
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35 acting | |
n.演戏,行为,假装;adj.代理的,临时的,演出用的 | |
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36 instinctively | |
adv.本能地 | |
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37 indirectly | |
adv.间接地,不直接了当地 | |
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38 spore | |
n.(无花植物借以繁殖的)孢子,芽胞 | |
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39 monotonous | |
adj.单调的,一成不变的,使人厌倦的 | |
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40 thickets | |
n.灌木丛( thicket的名词复数 );丛状物 | |
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41 scanty | |
adj.缺乏的,仅有的,节省的,狭小的,不够的 | |
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42 tangled | |
adj. 纠缠的,紊乱的 动词tangle的过去式和过去分词 | |
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43 frond | |
n.棕榈类植物的叶子 | |
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44 skilful | |
(=skillful)adj.灵巧的,熟练的 | |
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45 engraving | |
n.版画;雕刻(作品);雕刻艺术;镌版术v.在(硬物)上雕刻(字,画等)( engrave的现在分词 );将某事物深深印在(记忆或头脑中) | |
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46 maple | |
n.槭树,枫树,槭木 | |
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47 holly | |
n.[植]冬青属灌木 | |
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48 exquisitely | |
adv.精致地;强烈地;剧烈地;异常地 | |
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49 aesthetic | |
adj.美学的,审美的,有美感 | |
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50 intentionally | |
ad.故意地,有意地 | |
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51 inorganic | |
adj.无生物的;无机的 | |
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52 geographical | |
adj.地理的;地区(性)的 | |
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53 bluebell | |
n.风铃草 | |
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