The Last Harvest

by John Burroughs

"Shall I say that the use of Natural Science seems merely 'ancillary' to Morals? I would learn the law of the defraction of a ray because when I understand it, it will illustrate, perhaps suggest, a new truth in ethics." Is the ethical and poetic value of the natural sciences, then, their main or only value to the lay mind? Their technical details, their tables and formulæ and measurements, we may pass by, but the natural truths they disclose are of interest to the healthy mind for their own sake. It is not the ethics of chemical reactions and combinations—if there be ethics in them—that arrests our attention, but the light they throw on the problem of how the world was made, and how our own lives go on. The method of Nature in the physical world no doubt affords clues to the method of Nature in the non-physical, or supersensuous world. But apart from that, it is incredible that a mind like Emerson's took no interest in natural knowledge for its own sake. The fact that two visible and inodorous gases like hydrogen and oxygen—one combustible and the other the supporter of combustion—when chemically combined produce water, which extinguishes fire, is intensely interesting as affording us a glimpse of the contradictions and paradoxes that abound everywhere in Nature's methods. If there is any ethics or any poetry in it, let him have it who can extract it. The great facts of nature, such as the sphericity of the cosmic bodies, their circular motions, their mutual interdependence, the unprovable ether in which they float, the blue dome of the sky, the master currents of the ocean, the primary and the secondary rocks, have an intellectual value, but how they in any way illustrate the moral law is hard to see. The ethics, or right and wrong, of attraction and repulsion, of positive and negative, have no validity outside the human sphere. Might is right in Nature, or, rather, we are outside the standards of right and wrong in her sphere. Scientific knowledge certainly has a poetic side to it, but we do not go to chemistry or to geology or to botany for rules for the conduct of life. We go to these things mainly for the satisfaction which the knowledge of Nature's ways gives us.

So with natural history. For my own part I find the life-histories of the wild creatures about me, their ways of getting on in the world, their joys, their fears, their successes, their failures, their instincts, their intelligence, intensely interesting without any ulterior considerations. I am not looking for ethical or poetic values. I am looking for natural truths. I am less interested in the sermons in stones than I am in the life under the stones. The significance of the metamorphosis of the grub into the butterfly does not escape me, but I am more occupied with the way the caterpillar weaves her cocoon and hangs herself up for the winter than I am in this lesson. I had rather see a worm cast its skin than see a king crowned. I had rather see Phœbe building her mud nest than the preacher writing his sermon. I had rather see the big moth emerge from her cocoon—fresh and untouched as a coin that moment from the die—than the most fashionable "coming out" that society ever knew. The first song sparrow or bluebird or robin in spring, or the first hepatica or arbutus or violet, or the first clover or pond-lily in summer—must we demand some mystic password of them? Must we not love them for their own sake, ere they will seem worthy of our love?

To convert natural facts into metaphysical values, or into moral or poetic values—in short, to make literature out of science—is a high achievement, and is worthy of Emerson at his best, but to claim that this is their sole or main use is to push idealism to the extreme. The poet, the artist, the nature writer not only mixes his colors with his brains, he mixes them with his heart's blood. Hence his pictures attract us without doing violence to nature.

We will not deny Emerson his right to make poetry out of nature; we bless him for the inspiration he has drawn from this source, for his "Wood-notes," his "Humble-Bee," his "Titmouse," his "May-Day," his "Sea-Shore," his "Snow-Storm," and many other poems. But we must "quarrel" with him a little, to use one of his favorite words, for seeming to undervalue the facts of natural science, as such, and to belittle the works of the natural historian because he does not give us poetry and lessons in morals instead of botany and geology and ornithology, pure and simple. "Everything," he says, "should be treated poetically—law, politics, housekeeping, money. A judge and a banker must drive their craft poetically, as well as a dancer or a scribe. That is, they must exert that higher vision which causes the object to become fluid and plastic." "If you would write a code, or logarithms, or a cook-book, you cannot spare the poetic impulse." "No one will doubt that battles can be fought poetically who reads Plutarch or Las Casas."

We are interested in the wild life around us because the lives of the wild creatures in a measure parallel our own; because they are the partakers of the same bounty of nature that we are; they are fruit of the same biological tree. We are interested in knowing how they get on in the world. Bird and bee, fish and man, are all made of one stuff, are all akin. The evolutionary impulse that brought man, brought his dog and horse. Did Emerson, indeed, only go to nature as he went to the bank, to make a draft upon it? Was his walk barren that brought him no image, no new idea? Was the day wasted that did not add a new line to his verse? He appears to have gone up and down the land seeking images. He was so firmly persuaded that there is not a passage in the human soul, perhaps not a shade of thought, but has its emblem in nature, that he was ever on the alert to discover these relations of his own mind to the external world. "I see the law of Nature equally exemplified in bar-room and in a saloon of the philosopher. I get instruction and the opportunities of my genius indifferently in all places, companies, and pursuits, so only there be antagonisms."

Emerson thought that science as such bereaved Nature of her charm. To the man of little or no imagination or sensibility to beauty, Nature has no charm anyhow, but if he have these gifts, they will certainly survive scientific knowledge, and be quickened and heightened by it.

After we have learned all that the astronomers can tell us about the midnight heavens, do we look up at the stars with less wonder and awe? After we have learned all that the chemist and the physicist can tell us about matter—its interior activities and its exterior laws and relations—do we admire and marvel less? After the geologist has told us all he has found out about the earth's crust and the rocks, when we quarry our building-stone, do we plough and hoe and plant its soil with less interest and veneration? No, science as the pursuit of truth causes light to spring out of the abysmal darkness, and enhances our love and interest in Nature. Is the return of the seasons less welcome because we know the cause? Is an eclipse less startling because it occurs exactly on time? Science bereaves Nature of her dread and fearsomeness, it breaks the spell which the ignorance and credulity of men have cast upon her.

Emerson had little use for science except so far as it yielded him symbols and parables for his superscience. The electric spark did not kindle his interest unless it held an ethical fact for him; chemical reactions were dull affairs unless he could trace their laws in mental reactions. "Read chemistry a little," he said, "and you will quickly see that its laws and experiments will furnish an alphabet or vocabulary for all of your moral observations." He found a lesson in composition in the fact that the diamond and lampblack are the same substance differently arranged. Good writing, he said, is a chemical combination, and not a mechanical mixture. That is not the noblest chemistry that can extract sunshine from cucumbers, but that which can extract "honor from scamps, temperance from sots, energy from beggars, justice from thieves, benevolence from misers."

Though mindful of the birds and flowers and trees and rivers in his walks, it was mainly through his pressing need of figures and symbols for transcendental use. He says, "Whenever you enumerate a physical law, I hear in it a moral law." His final interest was in the moral law. Unless the scientific fact you brought him had some moral value, it made little impression upon him.

He admits he is more interested to know "why the star form is so oft repeated in botany, and why the number five is such a favorite with Nature, than to understand the circulation of the sap and the formation of buds." His insight into Nature, and the prophetic character of his genius, are seen in many ways, among others in his anticipation or poetic forecast of the Darwinian theory of the origin of species, in 1853.