* * *
When, therefore, our Artist sums up his impressions of Nature as epitomised in the life of the forest; when he has been able to feel that he has, as it were, got inside the skin of Nature, entered into her Spirit and really understood her—as the artist-midge we have referred to would enter into the nature of a man and try and understand him—he will probably find that Nature works in very much the same way as he himself works, and is of much the same character as himself.
The Artist will observe that Nature neither works by mere chance, tossing up at each turning whether she shall go to the right or to the left, and quite indifferent as to which way she takes; nor in the set and rigid manner of a machine; nor yet, again, in the cut-and-dried fashion which the execution of a previously conceived plan implies. Order everywhere the Artist will have observed. But order need not mean woodenness and machinery. Order is simply the absolutely essential prerequisite of any Freedom. And it is Freedom that the Artist everywhere observes. Nature is not closed in by the designed overarch of an eventually-to-be-completed plan. The zenith and horizon are always open. There is always order, but there is scope illimitable for Nature's workings.
So the sum impression the Artist will probably receive is that Nature is in her essential character an Artist like himself—that she creates and goes on creating, just as he creates and goes on creating. A painter who is a true artist and not a mere copyist paints "out of his head," as the saying goes, pictures which are true creations—something new and unique, though founded on and related to the pre-existing. And there is no limit to the pictures he might paint out of his head. He is not tied down in advance by any preconceived plan. According as he is roused and stirred by the complex life around him, he could—if he were physically able—go on for ever painting picture after picture, each a new creation. In the same way a poet could go on writing poems. The poet does not turn out poems like a machine turns out pins, each like the other. He is not tied down to what he writes. He writes out of his own heart what he likes. And he does not and could not turn out two poems exactly the same. Nor does he write according to plan as the bridge-builder works according to the plan of the engineer. He works as he goes. He works by spontaneous creativeness. He is utterly original—a true creator. And even so will our Artist hold that Nature works.
The letters of Nature's alphabet which the Artist sees in the forest are not in the places they are either through mere chance or according to a definitely prepared plan. The letters form words, the words form lines, and the lines form poems. The Artist reads the words and understands the meaning of the poems, and so understands the character of the Poet—the Poet whose name is Nature. But the Artist knows that the words and lines and poems he sees in the forest are there as spontaneous creations from the mind of Nature as poems arise in his own mind. And he knows that Nature could go on—and must go on—creating these poems, painting these pictures, for ever and ever.
Nature will, indeed, work to an end as an Artist works to an end. Nature has purposiveness as an Artist has purposiveness. But that end is something which Nature, like the Artist, is always revising, re-creating, improving, perfecting. An Artist has the general end of creating Beauty, but he is always striving to enrich and intensify it, to create it in greater and greater perfection. And even so does Nature work.
* * *
As the Artist puts himself in touch with the Heart of Nature, the dominant impression he receives is of Nature ever straining after higher, perfection, ever striving to achieve a greater excellence, and create beings with higher and higher, modes of life. He sees her straining upward in the mountain, in the trees, in the climbers on the trees, in every blade of grass. He sees the whole of life, straining to achieve higher and higher forms, more perfect flowers, more intelligent animals, more spiritual men. He sees the life of the seas stretching up out of the seas on to the land. He sees the life of the land striving to reach the highest points on the land. And he sees it also soaring up into the air and making itself at home there, too. Everywhere he sees evidence of aspiration and upward effort.
But he notes also that with this upward effort there goes a downward pull. The mountain strives upward, but it is drawn down by the forces of gravitation. The eagle soars up in the sky, but has to come down to earth to rest and feed. The poet aspires to heaven, but has to stop on earth and earn his daily bread.
Nature, like himself, the Artist finds, is engaged in a constant struggle between an impulse to excentration and the necessity for concentration. She wants to fly off to the zenith and to the horizon, but is continually being drawn into the centre. She wants to let herself go, but has to keep herself in. And all this is to the good. For the necessity for concentration only serves to strengthen and refine her aspiration. And the net result is higher and higher perfection. She cannot rise any higher in a mountain, so she rises in a higher form in a tree. She cannot rise any higher in a tree, so she rises in higher form in an orchid. She cannot rise any higher in an orchid, so she rises in higher form in a man. She cannot rise any higher in man as an intelligent animal, so she rises in higher form in man as a spiritual being, capable of spiritual appreciation and of spiritual communion with her.