The significance of scenes in general which hold and bind4 our lives for us, making them sweet or grim according to the sharpness of our perceptions, is a wonderful thing. We are passing among them every moment. A new arrangement is had with every move we make. If we but lift our eyes we see a variation which is forever interesting and forever new.
The fact significant is that every scene possesses that vital instability which is the charm of existence. It is forever changing. The waters are running, the winds blowing, the light waxing and waning5, and in the very ground such currents are at work as produce and modify all the visible life and color that we know. Great forces are at work, strong ones, and our own little lives are but a shadow of something that wills activity and enjoys it, that wills beauty and is beauty. The scenes that we see are purely6 representative of that.
The Beauty of Life
But how, in the picturing of itself to itself, is the spirit171 of the universe revealed to us? Here are forces which at bottom might be supposed to be anything—grim, deadly, terrible—but on the surface how fair is their face. The trees are beautiful—you would not suppose there was anything deadly at work to create them. The water is mellifluent, sweet—you could hardly assume that it was grim in purpose or design. Every aspect of the scene reveals something pleasing which could scarcely have been the result of a cruel tendency, and yet we know that cruelty exists, or if not cruelty at least a tendency to contention7—one thing striving with another and wearing it away, feeding upon it, destroying it which is productive of pain. And this element of contention represents all the cruelty there is. And this is not what is generally revealed in any scene.
Before such a picture of combined beauty and contentiousness8—however graceful—life living upon life, in order to produce at least a part of this beauty—the mind pauses, wondering. It is so useless to quarrel with an order which is compulsory9 and produces all that we know of either joy or pain. This scene, as we look at it, is one of the joys, one of the compensations, of our existence which we must take whether we will or no, and which satisfies us whether or not we are aware of the contentiousness beneath. Even the contentiousness cannot be wholly sneered10 at or regretted, for at worst it produces the change which produces the other scenes and variations of which our world is full, and at worst it gives our life the edge of drama and tragedy, to say nothing of those phases of our moods which make our world seem beautiful.
172 Pity the mind for whom the immediate11 scene, involved as it is with change and decay and contentiousness, has no direct appeal, for whom the clouds hanging in the heavens, the wind stirring in the trees, the genial12 face of the earth, spread before the eye, has no meaning. Here are the birds daily circling in the air; here are the waters running in a thousand varied13 forms; here are the houses, the churches, the factories, and all their curious array of lines, angles, circles, cones14, or towers, shafts15 and pinnacles16 which form ever new and pleasing combinations to which the mind, confused by other phases of life, can still turn for both solace17 and delight. For one not so mentally equipped a world of imagery is closed, with all that that implies: poetry, art, literature—one might almost say religion, for upon so much that is beautiful in nature does religion depend. To be dull to the finer beauties of line and curve that are forever beating upon the heart and mind—in earth, in air, in water, in sky or space—how deadly! The dark places of the world are full of that. Its slums and depths reek18 with the misery19 that knows no response to the physical beauty of nature, the wonder of its forms. To perceive these, to see the physical face of life as beautiful, to respond in feeling to the magnificent panoramas20 from which the eye cannot escape, is to be at once strong and wise mentally and physically21, to have in the very blood and brain the beauty, glory and power of all that ever was or will be here on this earth.
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1 graceful | |
adj.优美的,优雅的;得体的 | |
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2 clump | |
n.树丛,草丛;vi.用沉重的脚步行走 | |
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3 majesty | |
n.雄伟,壮丽,庄严,威严;最高权威,王权 | |
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4 bind | |
vt.捆,包扎;装订;约束;使凝固;vi.变硬 | |
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5 waning | |
adj.(月亮)渐亏的,逐渐减弱或变小的n.月亏v.衰落( wane的现在分词 );(月)亏;变小;变暗淡 | |
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6 purely | |
adv.纯粹地,完全地 | |
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7 contention | |
n.争论,争辩,论战;论点,主张 | |
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8 contentiousness | |
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9 compulsory | |
n.强制的,必修的;规定的,义务的 | |
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10 sneered | |
讥笑,冷笑( sneer的过去式和过去分词 ) | |
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11 immediate | |
adj.立即的;直接的,最接近的;紧靠的 | |
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12 genial | |
adj.亲切的,和蔼的,愉快的,脾气好的 | |
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13 varied | |
adj.多样的,多变化的 | |
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14 cones | |
n.(人眼)圆锥细胞;圆锥体( cone的名词复数 );球果;圆锥形东西;(盛冰淇淋的)锥形蛋卷筒 | |
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15 shafts | |
n.轴( shaft的名词复数 );(箭、高尔夫球棒等的)杆;通风井;一阵(疼痛、害怕等) | |
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16 pinnacles | |
顶峰( pinnacle的名词复数 ); 顶点; 尖顶; 小尖塔 | |
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17 solace | |
n.安慰;v.使快乐;vt.安慰(物),缓和 | |
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18 reek | |
v.发出臭气;n.恶臭 | |
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19 misery | |
n.痛苦,苦恼,苦难;悲惨的境遇,贫苦 | |
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20 panoramas | |
全景画( panorama的名词复数 ); 全景照片; 一连串景象或事 | |
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21 physically | |
adj.物质上,体格上,身体上,按自然规律 | |
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