Yesterday, Today, and Tomorrow

Even though I love many aspects of Nature, I confess that I am not a very good gardener.  That is why the plants in my yard that have endured over the years are those than can survive with little care (except perhaps for a brief soaker-hose during extreme drought).  One plant that has just managed to endure through tough times is a plant with an unusual common name -- the "yesterday-today-tomorrow plant."  It is so named because each flower is a deep blueish purple when first appearing but changes to a light shade the next day. On the third day, the flower has turned white.  And so, when flowers come frequently enough, they display a range of three colors.

The scientific name for the yesterday-today-tomorrow plant is Brunfelsia, so named for Otto Brunfels, who lived in Germany during the first half of the 1500's.  Those were tumultuous times because in 1517 Martin Luther posted his famous theses on a Roman Catholic church, thus beginning the Protestant Reformation.  Otto Brunfels' life exemplifies those changes:  He had trained in a Catholic monastery but later became a pastor of a Protestant church.  One thing endured through those decades:  Brunfels' interest in herbs, which were one source of medicines.  Although the three-volume work on herbs he wrote included sometimes questionable folklore, it also displayed woodblock illustrations, which was a fairly new innovation for printed books.  As the contemporary commentator John Lienhard states about Brunfels' compendium, "The images long outlived the words."

I know that biologists have to name species with Latin names. Nevertheless, I do enjoy how the common name for that Brunfelsia plant expresses one aspect of how humans experience time.  We remember yesterday.  We are aware of today. And we think ahead to tomorrow.  How should we handle our awareness of those three periods of time?

I think it is a reasonable assumption that anybody who has lived any length of time is bound to have some regrets about the past (even if they don't like to admit it). However, as  the 5th-century B.C.E poet Agathon wisely reminds us, “Even God cannot change the past.”

What about tomorrow?  Our modern, Westernized technologized societies change so rapidly that it makes life harder than it otherwise might be.  Our uncertainties about tomorrow can make it easy to worry about what challenges will come next.  Yet Jesus encouraged his followers by saying "Do not worry about tomorrow... Today's trouble is enough for today." [Matt. 6:34, NRSV]  (Is a bit of wry humor perhaps being displayed in his second sentence?)

What about today?  Many spiritual advisers (ranging from yoga teachers to authors of self-help books) tell us to "be present" to what is happening right now.  Or they phrase it that we should "live in the present."  I do need to cultivate awareness.  Nevertheless, I also need to draw upon my memories of the past, sometimes being sustained by them.  And I need to think about future days and plan for them.  I cannot very well be isolated in the present.

Maybe I can learn something from that yesterday-today-tomorrow plant.  Despite its name's dividing time into three parts, it is the same flower that endured and evolved through the string of three days.  There was actually a continuity through the course of time.

~ ~ ~

As you reflect upon your life, are there some continuities you would like to sustain?

(The quotation by John H. Lienhard is from his Engines of Our Ingenuity website, episode No. 2241, "Otto Brunfels.")
(The quotation by Agathon is taken from Bloomsbury Treasury of Quotations, edited by John Daintith, © 1994, p. 523.)
(The photo of flowers is by gailhampshire from Cradley, Malvern, U.K.
 and is used under a  Creative Commons Attribution 2.0 Generic license..)

On Birds and Humans and Love

Spring brings not only the colors of new leaves and flowers; it also brings the sounds of birdsong.  Behind those reassuring notes lies the new life of nests and eggs.  That annual occurrence makes the following Wisdom in Leaves article just as relevant as it was seven years ago:

It is a tale of tender, parental care -- among both humans and birds.  It is also a tale of love, even among the birds, dare I say, even if instinctive.  The story will eventually lead to the family of a virtually forgotten 19th-century author.  But let me begin with the matter of those birds.

The contemporary naturalist David Attenborough, in his TV series and book Life on Earth, pointed out how so much of birds' instincts, behavior, and time expended is centered on nurturing one thing:  the egg, and, of course, what comes from it.  He wrote, "Birds... have to incubate their eggs and that is a very dangerous business."

Now shift back over a century to the Centennial Exposition of 1876, a world's fair held in Philadelphia.  Among the exhibits was a display of the now famous artwork of John James Audubon, who introduced Americans to many of the birds of the North American continent. The critical link in this story is that among the fascinated viewers of Audubon's art was a twenty-nine year-old woman named Genevieve Jones.  Audubon's work engaged with two of her own interests.  Growing up, she had learned watercolor painting from her mother. And she had collected bird nests while accompanying her doctor father on his buggy rounds to patients.

Genevieve Jones

"Gennie" Jones became captivated by the idea of creating a book similar to Audubon's but covering the 130 species of birds that nested in the state of Ohio, where she lived with her parents. She hoped such a book would enable people to do something she had been unable to do as a child -- identify such nests as that of a Baltimore oriole.  The immense project was undertaken, with Genevieve and a friend learning how to make the life-sized lithographic drawings.  Her brother helped collect nests, and her father financed the project.  Neighborhood girls helped hand-color the prints.

Then tragedy struck.  Only two years into the project, with only part of the book published,

Genevieve caught typhoid fever and died.  Nevertheless, just in the way that birds do not abandon a nest after one of the chicks dies, the Jones family committed themselves to completing the project.  The mother learned how to make illustrations more scientifically precise than she ever had.  The technology of the time required transporting the sixty-five-pound printing stones to a printer 50 miles away in Cincinnati. After seven more years, the project was completed. Illustrations of the Nests and Eggs of the Birds of Ohio, with text by Genevieve's brother, was published in 1886.

The full story of Genevieve Jones, her family, and their book is told in America's Other Audubon by Joy M. Kiser (© 2012).  I am struck by how the matter of parental nurturing weaves throughout the tale:  Birds nurturing their young in nests.  The parents of Genevieve nurturing their daughter's love of art and of Nature.  The entire family contributing to the Illustrations of Nests project.  And all of that nurturing symbolized by those all so natural nests.

~~~

Do you have any remembrances of nests or of birds nesting?

(The quote about birds is from

 Life on Earth by David Attenborough, © 1979,  p. 195.)

Rachel Carson wrote that "There is something infinitely healing in these repeated refrains of nature -- the assurance that dawn comes after night, and spring after the winter."  So it is that we can be revived by the first signs of the return of fall -- whether it be the turning of color  in some leaves or the first drop in temperature.  The  recurring character of fall makes the following article, which was first published in Wisdom in Leaves in 2013, just as relevant today.

~ ~ ~

Having always been quite nearsighted, I could not appreciate trees as easily as I could appreciate leaves.  I could not readily identify which species a tree was from a distance, the way my parents could.  Nor could I see detail in the distant treetops.  But I could look at a leaf closely, even hold it in my hand, and feel its texture.

I am still fascinated by the shapes of leaves.  Not just the variety, but the way that each one looks like something else.  What child has not noticed the resemblance between a maple leaf and their own hand, even fitting their hand upon it?  Another leaf I examine (from what tree I do not know) looks like a spear.  Still another leaf has the outline of a scoop.  And the stiff, large leaf of the southern magnolia tree seems perfectly designed for fanning oneself during a hot southern summer.

To the botanist, the shape of the leaf tells a story about its tree having evolved to flourish in a particular environment.  Even without knowing the details about such variations, I can be amazed to know that it is within those thin leaves that plants magically convert carbon dioxide and water into solid material, thus enabling the plant to grow.  Green leaves are truly miniature factories powered by the sun.

I am fascinated not only by the shapes of leaves but also by their colors.  How many shades of green can there be?  Even more fascinating are the turnings of color as autumn comes.  Like an alarm clock that has gone off, the shock of seeing some trees no longer green can wake us up to the approaching winter.  The change in foliage can even make us think about our own use of time, and whether our time might be short.

In the author O. Henry's amusing story "The Cop and the Anthem," a dead leaf falling into the lap of the main character, a hobo, signals to him that he needs to make a change in his living arrangements in order to make it through the winter.  That warning, coupled with the moving chords of church music that waft outdoors, inspire the hobo to make a good change in his life -- "to turn over a new leaf," as we say.

As fall continues and winter gets even closer, the leaves we see on the ground change colors even more, becoming mottled, creating a quilt of yellows, browns, reds, and even purples.  The leaves are then ready to be recycled into the earth, to become the substance of plants and trees yet again.  The leaves also "turn over a new leaf."

With the passage of time, I am also probably reprocessing things from my past into my future, shedding some things as a way of growing new leaves.  But it is harder for me to see those changes happening in me than it is for me to observe the changes in leaves.  In leaves, I see life and change made manifest.

~~~

Do you have memories about leaves?  How do you experience your life changing with the cycle of a year?

(The Carson quotation is from her talk “A Statement of Belief,” quoted in Paul Brooks's book
  The House of Life: Rachel Carson at Work, © 1972, 1989.)

 

Supporting Life through Letters

 Describing an often overlooked characteristic of 19th-century biologists, Joseph Kastner writes:  "Naturalists who never laid eyes on each other became intimate friends by virtue of the long and faithful letters they wrote to each other, year in and year out...."  Early British biologists' use of correspondence for research accelerated after the 1840 creation of the Penny Post within England, which set a fixed rate for a letter regardless of the distance it had to travel.  No biologist took greater advantage of the postal service for gathering scientific data than Charles Darwin, who penned over 14,000 letters.  But there is more than science in those early biologists' letters. There are also matters of the heart.

from Hooker's
Himalayan Journals

Appreciating the poignancy of some letters requires knowing about the state of 19th-century medicine.  Because there were virtually no vaccinations nor oral or injected antibiotics, a child was twenty-five times more likely to die before reaching early adolescence than is a child in Britain today.  Despite 19th-century biologists' accelerating knowledge about the natural world, they were not exempt from that statistic.

After the death of Darwin's beloved daughter Annie at the age of ten, the botanist Joseph Hooker, who helped Darwin study plant species, offered his condolences to Darwin.  Several years later, only an hour after Hooker's daughter died, Hooker was writing to Darwin to tell of his own grief.  Darwin wrote back at once.

Thomas Henry Huxley
   

The leading British advocate for Darwin's theory of evolution for natural selection, Thomas Henry Huxley, also lost a child.  After Huxley's son Noel died at the age of three, Darwin drew upon his own experience of grief with Annie to reassure Huxley that grief could soften with time, writing, "I was indeed grieved to receive your news this morning....  I know well how intolerable is the bitterness of such grief.  Yet believe me, that time, and time alone, acts wonderfully....  I cannot think of one child without tears rising in my eyes; but the grief is become tenderer and I can even call up the smile of our lost darling...."

statue of
Jean Henri Fabre

Such personal expressions of grief and condolence, sometimes traveling in envelopes as part of scientific study, also crossed the English Channel.  The most difficult of emotions were sometimes even revealed in the pages of scientific books.  The eminent French entomologist Jean Henri Fabre closed his first volume on insects with a dedication to the memory of his own son, who had died when Fabre was working on the book. Charles Darwin, despite scientific disagreements,  wrote a cordial letter to Fabre, saying,  "Permit me to add, that when I read the last sentence in your book, I sympathised deeply with you."

I was moved even more by the tenderness and cordiality of these letters when I re-read them during the COVID pandemic.  With our own world's death-count increasing, it had become easy to be numbed by the numbers, so familiar had they become.  Even though we have electronic means of communication these 19th-century letter-writers did not have, these biologists' letters, with their warmth, transcended their limited technology.

~ ~ ~

Can you think of any way our communicating with others might become more spiritually supportive?

(The Kastner quote is from A Species of Eternity by Joseph Kastner, © 1977,

and is taken from The Naturalist's Path by Cathy Johnson, © 1991.  p. ix.)

(The Darwin quotes are taken from Annie's Box by Randal Keynes, © 2001.  pp. 221 & 285.)

Bound Together at the Root

We call them "pages" -- those rectangular sheets that form a book.  At one time, those pages were not infrequently called the "leaves" of a book.  Today, we employ that term less often (although we do still use "loose-leaf" notebooks, even in this digital age).  And occasionally we might say that a person is "leafing through" a magazine as they browse through its pages.

John Donne
(1572-1631)

The employment of the same English word for both the pages of a book and those flat attachments to a tree we call "leaves" proved to be fertile ground for the pen of the early 17th-century poet and essayist John Donne.  His prose could at moments be as rich as poetry.  And he drew upon the "leaf" metaphor in "Meditation XVII" of his Devotions Upon Emergent Occasions.  That is the mediation in which he makes his more famous statement that "No man is an island, entire of itself."  But his expansion of the "leaf" metaphor is more intricate.

In his imagery, he turns a book into a living organism that goes through a season of rebirth -- the way a tree is reborn into a new spring of life, even though its leaves had fallen to the ground the autumn before.  In Donne's intricate picture, those "scattered leaves" are parts of our human lives, which can seem piecemeal.  But God is able to give new meaning to them, even though we are all mortals.  As Donne writes:

"When one man dies, one chapter is not torn out of the book,
 but translated into a better language."

One reason God is able to do that work of restoration is because "all mankind is of one author and is one volume."

Donne would doubtlessly have been aware of the long tradition in Christianity of describing the natural world as the "Book of Nature." Similar to the way that Christianity possessed a book -- the Bible -- as one source of revelation, the natural world was also viewed as being able to reveal things about God.  But in his "Meditation XVII," John Donne focuses just on humans and the challenge of our mortality.

"not torn out"

Death was a challenge he knew full well.  His wife Anne, at the age of 33, died after giving birth to a stillborn child.  Also, John Donne had to frequently deal with death as an Anglican pastor: ringing the bell to signal the loss, and then addressing the congregation through a sermon.  In his "leaf" metaphor, he takes advantage of the stitched edge of a book being called its "binding" to emphasize that we are all inescapably bound together.  In a more fascinating way, he describes death as not being removed from the "book" but as being "translated" as God reveals new meaning in each person's existence.  As Donne puts it:

"Some pieces are translated by age, some by sickness, some by war, some by justice;
 but God’s hand is in every translation, and his hand shall bind up
 all our scattered leaves again for that library
 where every book shall lie open to one another."

In the same way that the continuing work of the Creator recycles the minerals of a tree's fallen leaves back into the tree's new spring-life, the values of our human lives are not lost in Donne's vision.  Instead, at death, they are given new, deeper meanings as part of a larger whole.  Indeed, many of us have experienced how the lives of the people we have known but who have died can speak to us in a new way, even though they are physically gone from us.

~ ~ ~ 

(Is there a person no longer living whose life gives you additional understanding for your own life?  Who?  And how?)

(All the quotations are from John Donne's "Meditation XVII" from his Devotions Upon Emergent Occasions, 1624.)
(The portrait of Donne is in the public domain by virtue of its age beyond the artist's life.)

A Crocus in the Snow

It is a classic subject for nature photographers:  a vividly purple flower
 in the midst of white snow. Why is that image appealing to us?

Part of its appeal comes from its aesthetic beauty -- so much so that it demonstrates what have long been held to be some of the identifying characteristics of beauty.  One of those is that beauty is created when some features that might otherwise be experienced as being in conflict are instead held together in harmony.  In this case, the intensity of purple contrasts with the absence of color in the snow; yet the two are held in harmony.  The contemporary professor of religion Steven R. Guthrie, explaining this aspect of classical Western thought regarding beauty, writes that, "In Plato's dialogues... harmony in this sense is not uniformity or unanimity but the beauty that emerges from different elements in right relationship.... It is, in Dante's words, 'an order' from 'things disparate.' "

Most people like the image of the crocus in the snow.  That favorable emotional response points to another aspect that the Western philosophical and theological traditions have identified as being a characteristic of beauty.  Namely, that something beautiful creates a resonance within us that is pleasing.  In that regard, Guthrie explains that " [Thomas] Aquinas draws our attention to the immediate impression that beautiful things make upon our senses."

In the case of the crocus in the snow, however, those who find the image beautiful are often responding to more than the aesthetic beauty of purple against white.  A purple blotch on a white background would not elicit the same emotions that the flower does.  What also resonates within us in the case of the crocus, even if unconsciously, is the contrast between the new life of the emerging flower and the surrounding cold snow of winter -- the season in which most plants die back.  This additional form of contrast is also a dimension of the image's beauty that is pleasing to us.  Not only is the tension between purple and white held together, but life and death are held together in a moment of harmony when the crocus emerges out of the snow.  The 18th-century poet Christopher Smart, in his poem praising God, expressed how the crocus stands out from other plants around it.  He wrote:

"The laurels with the winter strive;

The crocus burnishes alive

     Upon the snow-clad earth."

The moment of plant-nativity displayed by the crocus can thus evoke within us that enduring quality of hope that sustains our human existence.  Gandhi once wrote:

"I do dimly perceive that whilst everything around me is ever changing, ever dying, there is underlying all that change a living power that is changeless, that holds
 all together, that creates, dissolves, and re-creates.... And is this power benevolent or malevolent? I see it as purely benevolent. For I can see that in the midst of death life persists, in the midst of untruth truth persists, in the midst of darkness light persists.
 Hence I gather that God is Life, Truth, Light."

It is through our human capacity to not only resonate when experiencing aesthetic beauty but also respond to symbols that we can open ourselves to the transcendent dimension of reality.  The crocus in the snow reveals to us more than the survival capability of a specific flower.  It points to the Ultimate Ground of all existence.  And in that Ground are the "flower-bulbs" and "seeds" of all that can be.  There is an Indian saying that:

"All the flowers of all the tomorrows
 are in the seeds of today."

The real challenge can be spotting those "seeds" and nurturing them.  Sometimes we cannot even see them at all.  But even when we cannot perceive them, we can hope, and like Gandhi we can have faith that they are there despite being hidden beneath the snow.

~ ~ ~

(What do you hope for?  Can you see any way you might contribute to that future growth of something good?)

(The Steven R. Guthrie quotation is from his book Creator Spirit:
 The Holy Spirit and the Art of Becoming Human, © 2011. pp. 201-202 & 205.)

(The lines by Christopher Smart are from "A Song to David,"
 taken from Encompassing Nature, ed. Robert M. Torrance, © 1998, p. 1015.)

(The Gandhi quotation is from his Young India, 11-10-28, as quoted in Gleanings from
 the writings of Mahatma Gandhi bearing on God, God-Realization and the Godly way, ed. R. K. Prabhu.)

Fathers of Biology, and of Children

Describing an often overlooked characteristic of 19th-century biologists, Joseph Kastner writes:  "Naturalists who never laid eyes on each other became intimate friends by virtue of the long and faithful letters they wrote to each other, year in and year out...."  Early British biologists' use of correspondence for research accelerated after the 1840 creation of the Penny Post within England, which set a fixed rate for a letter regardless of the distance it had to travel.  No biologist took greater advantage of the postal service for gathering scientific data than Charles Darwin, who penned over 14,000 letters.  But there is more than science in those early biologists' letters. There are also matters of the heart.

from Hooker's
Himalayan Journals

Appreciating the poignancy of some letters requires knowing about the state of 19th-century medicine.  Because there were virtually no vaccinations nor oral or injected antibiotics, a child was twenty-five times more likely to die before reaching early adolescence than is a child in Britain today.  Despite 19th-century biologists' accelerating knowledge about the natural world, they were not exempt from that statistic.

After the death of Darwin's beloved daughter Annie at the age of ten, the botanist Joseph Hooker, who helped Darwin study plant species, offered his condolences to Darwin.  Several years later, only an hour after Hooker's daughter died, Hooker was writing to Darwin to tell of his own grief.  Darwin wrote back at once.

Thomas Henry Huxley
   

The leading British advocate for Darwin's theory of evolution for natural selection, Thomas Henry Huxley, also lost a child.  After Huxley's son Noel died at the age of three, Darwin drew upon his own experience of grief with Annie to reassure Huxley that grief could soften with time, writing, "I was indeed grieved to receive your news this morning....  I know well how intolerable is the bitterness of such grief.  Yet believe me, that time, and time alone, acts wonderfully....  I cannot think of one child without tears rising in my eyes; but the grief is become tenderer and I can even call up the smile of our lost darling...."

statue of
Jean Henri Fabre

Such personal expressions of grief and condolence, sometimes traveling in envelopes as part of scientific study, also crossed the English Channel.  The most difficult of emotions were sometimes even revealed in the pages of scientific books.  The eminent French entomologist Jean Henri Fabre closed his first volume on insects with a dedication to the memory of his own son, who had died when Fabre was working on the book. Charles Darwin, despite scientific disagreements,  wrote a cordial letter to Fabre, saying,  "Permit me to add, that when I read the last sentence in your book, I sympathised deeply with you."

I am struck by the tenderness and cordiality of these condolences mingled among the scientific facts.  I cannot begin to comprehend all the research of these early naturalists. But I can hope that some of my emails and "snail-mail" notes might express a similar warmth.

~~~

How do you think we today might make our correspondence spiritually supportive?

(The Kastner quote is from A Species of Eternity by Joseph Kastner, © 1977,

and is taken from The Naturalist's Path by Cathy Johnson, © 1991.  p. ix.)

(The Darwin quotes are taken from Annie's Box by Randal Keynes, © 2001.  pp. 221 & 285.)

Moving and Memories

Have you ever woken out of a dream in which you had been in a place where you previously lived?  Such dreams are not uncommon.  They were also the framework drawn upon by Marcel Proust to begin his masterwork novel Remembrance of Things Past.  The author tells of how, sometimes dozing in and out of sleep, he would awake disoriented, not sure at first where he was.  He easily imagined for a moment that he was in a childhood or other earlier bedroom. As Proust wrote, "When a man is asleep, he has in a circle round him the chain of the hours, the sequence of the years."

Such dreams fascinate me because they express so well how making sense of new experiences and challenges involves placing them within the context of something we already know.  New situations, particularly demanding ones, can be disorienting, just as Proust was momentarily disoriented.  Drawing upon abilities we already possess can help us orient ourselves in less familiar situations -- just as the dream of a familiar room and walls reveals our subconscious's drawing upon something deeply rooted within us.

Thinking back upon our lives, if we have lived in more then one location, we can recall times of transition that entailed moving.  Some moves can be exhilarating; others can be frightening. Leaving for college can be an exciting, hopeful time despite its uncertainties.  Being forced to move because of divorce is inevitably stressful, the atmosphere of a failed marriage suffocating for the time any joy that once was.

Reflecting upon this matter of moving leads me to thoughts of those non-human animals that must make frequent moves.  Twice a year, thousands of wildebeests make a mass migration covering many miles of East Africa.  Annual migrations by bird species, usually north and south, are an integral part of their lives.  Historians have sometimes employed the world "migration" to describe the movement of groups of people as they relocated, but those human "migrations" are in most cases once-in-a-lifetime, in contrast with the demand that instinct places upon such animal species every single year.  Nevertheless, in that instinct lies salvation, protecting the species against too severe weather, and offering the hope of food ahead.

I wonder if animals who migrate have dreams of previous homes.  I do know that researchers in laboratories have been able to detect through brain waves that rats dream about a new task they were challenged with the day before.  Birds are not as biologically close to us as such mammals, but might they also be dreaming of flying when their wings flutter while asleep?

Ecologists speak of "niches" in which species have evolved, finding their place in a life-giving way.  Human beings, try to find their place spiritually in relation to a Higher Truth or Power. Thousands of years ago, one ancient Hebrew, going to the temple for spiritual reorientation, looked up and was encouraged to see that the temple had also provided niches in its walls for nesting birds:

"How lovely is your dwelling place, O LORD....

Even the sparrow finds a home, and the swallow a nest for herself,

 where she may lay her young."

~~~

Have you ever made a move that entailed not just relocation but also growth?

(The Proust quote is from the opening chapter, "Overture," of the first book, Swann's Way,

 in Marcel Proust's 1913-1927 opus, trans by C. K. Scott Moncrieff, © 1928.)

(The quotation about the temple niches is from the Hebrew Bible [Christian New Testament], Psalm 84:1, 3 [NRSV])
(Photo of wildebeests, by Bjørn Christian Tørrissen, used under a Creative Commons Attribution-Share Alike 3.0 license.)

Winged Flashes of Light and Insight

I can't remember the first time I saw a butterfly, but I do remember what my earliest impressions of them were.  Over the years, I have gradually learned more about butterflies, and with each step in learning, my thoughts about them have changed.  So also have butterflies been part of my changed thoughts about life itself.

A flash of bright, moving color in the sun.  That is my earliest recollection of a butterfly.  Even today, in the latter years of my adulthood, that is what first catches my eye.  It does seem to be an experience tuned to capture the interest of a young child:  The movement. The bright colors, something little kids seem to enjoy no matter whether it comes in butterflies or a box of crayons.  But nothing can quite duplicate a butterfly's tantalizing lure.  "Come and see me up close," it seems to say as it pauses on a flower not so far away.  But then it is off again, the direction it takes shifting unpredictably.  A beautiful combination of fragility and energy, a butterfly seems to be perfectly designed to encourage children to delight in life.

Like all children of elementary-school age, I soon learned about the connection between caterpillar and butterfly.  Even though the transitional state between the two was first described to me as a "cocoon," rather than the technically precise name of "chrysalis," I learned about the marvelous life cycles of these most beautiful insects:  Egg, larva (caterpillar), chrysalis, winged adult.  At some point I encountered how this almost unbelievable metamorphosis out of a dead-looking chrysalis has been a ready-made symbol for resurrection and rebirth.  The promise of new life and possibilities, even when death seems to have brought everything to an end.

In more recent years, I have become intrigued by some additional scientific facts about these insects. Specifically, that the winged butterfly -- which we tend to think of as being the point of all this metamorphosis -- actually lives an average of only two weeks.  Moreover, in the wild, only one percent of individuals make it through the whole cycle in all its stages.  I remember a man whose son was born with a genetic illness that meant the boy was destined to live only into latter teens unless he could get successful marrow and liver transplants.  The family struggled over the course of years, stretching out the life of a boy whose biological life did not naturally stretch into adulthood.  After the son died at college age, the father said that the most comforting words any person said to him were, "Your son's life was not wasted."  This, then is the latest lesson the butterflies carry for me, if I remember how short the lives of all winged butterflies actually are. Who would want to declare their lives a waste?

Perhaps a butterfly in flight can lead us to even another insight.  Eighty years before the theologian Paul Tillich's book titled The Eternal Now made that phrase famous, the nature-mystic Richard Jefferies described an experience he had outdoors:

"It is eternity now.  I am in the midst of it.  It is about me in the sunshine;

 I am in it, as the butterfly floats in the light-laden air.

  Nothing has to come; it is now.  Now is eternity."

~~~

Do you have any special recollection about butterflies?  What do you like about them?

(The Jefferies quote is from his book The Story of My Heart [1883].  Chap. 3.)
(The photo of the chrysalis is by "Pollinator at the English language Wikipedia,"
 and is used under a Creative Commons Attribution-Share Alike 3.0 Unported license.)

Looking Up to Trees

Down the block from the house where my wife grew up, there is a modest but nice park.  There is only a little bit of playground equipment.  Instead the park is mostly a place for kids to run and adults to walk beneath the tall, very old trees.

One evening near sunset, I strolled alone into the park, and found myself for some reason pausing before one of the trees.  With no one else around to make me feel embarrassed, I felt a desire to unhurriedly contemplate the tree.  At first I saw up close the rough texture of its bark and the pockmarks from where life's diseases had left scars.  Despite those signs of the tree's vulnerability, I was next struck by the tree's massiveness.  It's height and solidity.  I thought about how the tree had endured countless nights, standing there unattended through wind, rain, and dangerous lightning.

I found myself not only looking up at the tree in its immense height, but also looking up to the tree for its virtues.

To some people, it might seem strange to turn to trees to look for virtues to inspire.  But Tennessee Williams, in his play The Night of the Iguana, turned to a tree for guidance on the distinctly human challenge of facing one's mortality.  In that play (superbly adapted into a movie), a middle-aged spinster artist is traveling through Mexico with her 97-year old grandfather, who is a poet.  The two are broke, trying to hang on by her drawing portraits of tourists and by his recitation of poems for tips.

Intermittently throughout the play, the now nearly deaf and nearly blind grandfather repeats the opening lines of a poem he has been working on but has been unable to complete:

"How calmly does the orange branch

Observe the sky begin to blanch..."

The play's climax is expressed poetically through the grandfather finally having completed his
poem mentally, which he then recites while his granddaughter transcribes it.  The completed poem expresses how the tree, even though it lives "without a prayer" (unlike humans), nonetheless shows "no betrayal of despair" in the face of its future:

grandfather reciting poem
in The Night of the Iguana

"Sometime while night obscures the tree...

A second history will commence.

...the broken stem

The plummeting to earth...."

This return to the earth is:

"An intercourse not well designed

For beings of a golden kind."

It is instead " [a] bargaining with mist and mould."

And yet, despite that altered future, the living tree still holds its head high.  So much so that the soon-to-die grandfather looks up to the tree, expressing in the final stanza of the poem his desire to live like it:

"O Courage, could you not as well

Select a second place to dwell,

Not only in that golden tree

But in the frightened heart of me?"

~~~

Are there any qualities of trees that you would like to share in?

(The poem quoted is recited by Nonno in The Night of the Iguana by Tennessee Williams, © 1961.  Act. 3.)

(The movie-still from The Night of the Iguana [1964], directed by John Huston, is used under Fair Use.)

(The full poem by Tennessee Williams, in print and read by a different actor, is at this external link:  "How calmly does....")

A Strange Word for a Strange World

The first time I was in a national park, I didn't know I was.  During that family vacation, I was elementary-school age, and I don't recall my parents every saying we were going to the "national park," or even to "the park."  Instead, we were going to see "the cave" or "Mammoth Cave."  Even though that famous cave is in a national park, I don't recall our having explored any landscape above ground (other than the gift shop and restaurant).

Mammoth Cave

I also believe it was during that family vacation that I first encountered the word "mammoth."  Today in the U.S., we rarely employ that word as an adjective, preferring "huge," "immense," or "gigantic."  Perhaps at the age I was, I had heard the word "mammoth" used as a noun to talk about woolly "mammoths" (based on the Russian name for those extinct animals first discovered in Siberia).  But I have no recollection of knowing about those creatures at that time either.  Because of my unfamiliarity with that strange word with three "m's" in it, the phrase "Mammoth Cave" did not sound like a description of the cave's size, but instead seemed to be a distinctive proper name, just like the name "Kentucky" for the state we were headed to.

Since that time of my childhood, I have been a tourist in a half-dozen other caves with less descriptive names.  What has stayed with me most in my memory is the otherworldliness of the experience.  (It has been similar to the experience of going into a dark movie theater and becoming so lost in the world of the movie that when I emerged back into daylight I had forgotten what day it was, and even what time of day.)  Some of that strangeness of caves has come from the fascinating, but in a way bizarre rock formations, often accentuated by man-made lights. More than those things, there has been the otherworldliness of actually being beneath the ground that had seemed so solid when I was above it.

Over a half-century before I entered Mammoth Cave as a boy, the early nature-writer John Burroughs (1837-1921) wrote eloquently about his own experience in that very same cave.  He emphasized the strangeness of the place by explaining how even blind people found it so:  "The blind seem as much impressed by it as those who have their sight....  They get some idea of the spaciousness when words are uttered....  When no word is spoken, the silence is of a kind never experienced on the surface of the earth, it is so profound and abysmal."

Burroughs then penetrates more deeply into the otherworldliness by pointing to its similarity to the dead being underground:  "I... said to myself, the darkness and the silence of their last resting-place is like this....  No vicissitudes of earth, no changes of seasons, no sound of storm or thunder penetrate here; winter and summer, day and night, peace or war, it is all one; a world beyond the reach of change...."

Burroughs' words made me even gladder that we humans have evolved so as to be suited to living upon this green Earth's surface, not confined inside it.

~~~

If you have ever been in a cave, what was it like being there and coming back out?

(The Burroughs quotes are from Riverby [1894] by John Burroughs.)

(The photo inside Mammoth Cave is by Daniel Schwen,

 and is used under a Creative Commons Attribution-Share Alike 3.0 Unported license.)

Hope in a Hole in the Ground

It would seem to be a sad thing to have to bury one's hopes in a hole in the ground.  It would seem to be the final recourse when a person had to abandon a long-held hope, trying to put it out of sight.  Even Jesus tells his disciples not to behave like the servant who "went off and dug a hole in the ground and hid his master's money" (Matt. 25:18, NRSV).  Nevertheless, a hope of a kind is put in the ground and covered over trillions of time around this planet every year. That hope is encapsulated in a seed.

If ever there were a question about whether the earth were good, it would seem to be answered by that act.  As the early 20th-century poet Rainer Maria Rilke poignantly put it:

"In spite of all the farmer's work and worry,

he can't reach down to where the seed is slowly

transmuted into summer.  The earth bestows."

This connection between hope and the ground came to me when I encountered again a one-line quotation by someone much less known than Rilke. The quotation was by Lucy Larcom. Although few people know about her, a fair number of people may have encountered a statement of hers that is used by organizations such as the Arbor Day Foundation.  Larcom succinctly wrote:  "He who plants a tree / Plants a hope."  Of course, in this case, the "hope" is not completely buried, seedlings or young trees being the ways trees are usually planted.  Nevertheless, what dependence upon the earth and upon a tenuous life other than our own is embodied in that act of planting!  A number of U.S. cities are now more aware of how precarious the life of trees can be, because droughts over the past years have killed so many trees, both young and old.  And how even more dependent peoples' hopes must be in countries where water cannot be obtained through a garden hose or a transporting truck.

To be fair to Jesus, I should point out that when he guides his disciples not to put their "talents" in "a hole in the ground," he is using an agricultural metaphor to provoke insights about human behavior (as is often the case).   He is encouraging his followers not to remain holed up in their own houses, but instead to put their "talents" -- both money and abilities -- into circulation. His words could be paraphrased as, "Don't isolate. Interrelate!"

As I return my thoughts to those seeds being placed in the ground and covered over with soil, I now realize that the instructions we are giving them without words are very much the same.  We are in effect saying:  "Don't stay isolated in that sterile paper envelope where you've been. Instead, return to that world your family came from.  Get back in touch with the earth with all its nutrients and microbes.  Interrelate with the life-forms that are in the soil.  And soak up the rain that filters down, letting your life interrelate with the clouds and sun above.  Grow."

And upon that instructed seed, we humans place our sometimes frail hope.  It is a hope that has not been entirely disappointed billions and billions of times.

~~~

Have you ever gardened?  Have you ever thought about the wonder in those seeds?

(Rilke quote from "The Sonnets to Orpheus," XII, trans. Stephen Mitchell, in Ahead of all Parting, © 1995. p. 433)

(The quote by Lucy Larcom [1824-1893] is from "Plant a Tree,"

as quoted in A Dictionary of Environmental Quotations, ed. Barbara K. Rodes, © 1992.  130:8.)

(Both photos by Roger Culos, used under Creative Commons Attribution-Share Alike 3.0 Unported licenses.)

Leaves Old and New

Having always been quite nearsighted, I could not appreciate trees as easily as I could appreciate leaves.  I could not readily identify which species a tree was from a distance, the way my parents could.  Nor could I see detail in the distant treetops.  But I could look at a leaf closely, even hold it in my hand, and feel its texture.

I am still fascinated by the shapes of leaves.  Not just the variety, but the way that each one looks like something else.  What child has not noticed the resemblance between a maple leaf and their own hand, even fitting their hand upon it?  Another leaf I examine (from what tree I do not know) looks like a spear.  Still another leaf has the outline of a scoop.  And the stiff, large leaf of the southern magnolia tree seems perfectly designed for fanning oneself during a hot southern summer.

To the botanist, the shape of the leaf tells a story about its tree having evolved to flourish in a particular environment.  Even without knowing the details about such variations, I can be amazed to know that it is within those thin leaves that plants magically convert carbon dioxide and water into solid material, thus enabling the plant to grow.  Green leaves are truly miniature factories powered by the sun.

I am fascinated not only by the shapes of leaves but also by their colors.  How many shades of green can there be?  Even more fascinating are the turnings of color as autumn comes.  Like an alarm clock that has gone off, the shock of seeing some trees no longer green can wake us up to the approaching winter.  The change in foliage can even make us think about our own use of time, and whether our time might be short.

In the author O. Henry's amusing story "The Cop and the Anthem," a dead leaf falling into the lap of the main character, a hobo, signals to him that he needs to make a change in his living arrangements in order to make it through the winter.  That warning, coupled with the moving chords of church music that waft outdoors, inspire the hobo to make a good change in his life -- "to turn over a new leaf," as we say.

As fall continues and winter gets even closer, the leaves we see on the ground change colors even more, becoming mottled, creating a quilt of yellows, browns, reds, and even purples.  The leaves are then ready to be recycled into the earth, to become the substance of plants and trees yet again.  The leaves also "turn over a new leaf."

With the passage of time, I am also probably reprocessing things from my past into my future, shedding some things as a way of growing new leaves.  But it is harder for me to see those changes happening in me than it is for me to observe the changes in leaves.  In leaves, I see life and change made manifest.

~~~

Do you have memories about leaves?  How do you experience your life changing with the cycle of a year?

The “Seven-Year” Insect Itch

Of all non-human forms of Nature that many people in the U.S. encounter, there is one form that may be the oddest.  Some people consider the species to be just noisemakers.  Other people find the "background music" they make somehow relaxing.  (Maybe they're an acquired taste.) Whatever you think of them, they are the Cicadidae family, or cicadas.

When I first moved to the southern U.S. and encountered these insects, a few southerners called them "locusts." But that is a misnomer.  Cicadas do not come in Biblical-type plagues sweeping across the sky.  Cicadas don't congregate in those kind of numbers, nor do they travel far.  In fact, they are more of home-bodies, their entire life journey extending not much further than down the height of tree and back up again.

The adult form, which makes that controversial drone, looks like a giant green fly that has bulked up.  However, despite the inescapable summer sound of cicadas in the South, we humans rarely get a close look at the adults with their large delicate wings folded back over the body.  What we can get a close look at is the shell-like remnant of the nymphs that preceded the adults.  Rather than emerging from a cocoon, the adult emerges out of the exoskeleton of a wingless kind of brown "bug," which is left behind on the bark of a tree.

When several such remnants are on a single tree, they demonstrate visually the life story of the cicada.  All the nymphs' empty shells will be oriented away from the ground they left behind and will be marching upward (where the adults went to mate and lay eggs).  The nymphs make this short trek partway toward the treetops after having lived underground, frequently for 13 years.  (Sometimes the cicadas are called "seven-year cicadas," but that number "7" probably comes form our biblical heritage, seven being in the Bible a symbol of completion.)

It is this long life underground that makes the cicadas so odd.  We may think that a cicada population is being reborn every summer, but what we see are in most species the offspring of adults who laid eggs several years ago. There are actually multiple synchronized populations of cicadas, each set waiting for its turn to appear.

This could be real inspiration for a science-fiction story.  Imagine a planet on which there are ten sets of people -- each set looking exactly like each other set.  Only one set at a time appears out of a subterranean hiding place.  But our Star Trek crew who has landed on the planet does not know there are multiple sets of people.  As a result, the Star Trek crew becomes totally baffled in trying to deal with the planet's inhabitants.  It would be bizarre, and yet this is happening with the cicadas on our planet Earth!

~~~

Looking back upon your own life, is there something you now see as having taken years to come to fruition and completion?

An “Island” Larger than Land

Some of my most delightful opportunities to see the other-worldliness of Nature have been when I've gone to certain restaurants.  No, it was not the samples of Homo sapiens I was watching (although people-watching can be interesting too).  Instead, these were restaurants that had a saltwater aquarium on display for the entertainment of customers.

After dining, I spend time peering into this saltwater world, watching for movement so that I can spot the life-forms other than the obvious fish.  Did I as a child think of all animals as being symmetrical with a right and left side?  Here, in this salt-water world, that idea is disproved. Here, circular is the game.  Circularity allows creatures that have no obvious face to be sensitive to the world in a full 360-degree perimeter.

I spot a sea anemone, its innumerable tiny arms ready to grab some passing prey.  Most camouflaged is the coral, which has taken evolution's advice to look like a rock most seriously, building its own rock-like castle for a colony of nearly microscopic beings to share.  Eventually, I have to leave this bit of ocean world trapped behind glass and come back to our human world of restaurant and city.

Of course, I have a number of times gone to the beach.  But those seashells strewn on the sand are only stone monuments to the dead, the living organisms that once inhabited them having passed on.  Those seashells are merely hints of the life that lives out beyond the water's edge.  They are only inanimate fragments hinting of the life beyond.

I did once get a closer glimpse into ocean life than an aquarium provides when my wife and I visited the tide pools on the Pacific coast of Olympic Natl. Park.  Roaming the beach, we stopped at each small depression of sand that held some temporarily trapped seawater with living inhabitants.  The best find were tiny starfish with five 1-inch arms.  However, as we examined the life-forms in the tide pools, we knew they would soon be covered over with the rising tide, thus being taken back into their rightful ocean home.

The oceans on this planet are to me something like giant tide pools, pocketed away from our life here on land.  The oceans are like isolated islands of life, even though they cover a greater area of the Earth's surface than does land.

Locked away in their own world of life, the oceans whisper to me some message of eternity for a reason I cannot quite explain.  However, Rachel Carson heard, I think, the same whisper when she wrote:  "To stand at the edge of the sea, to sense the ebb and the flow of the tides... is to have knowledge of things that are as nearly eternal as any earthly life can be.  These things were before ever man stood on the shore of the ocean .... They continue year in, year out, through the centuries and the ages, while man's kingdoms rise and fall."

~~~

How has it felt to you to go to a beach or the ocean?

(The Carson quote is from Under the Sea Wind, © 1941.)