Observe what grace and charm appear even in the accidents that accompany Nature’s work. Some parts of a loaf crack and burst in the baking; and this cracking, though in a manner contrary to the design of the baker, looks well and invites the appetite.
Figs, too, gape when at their ripest, and in ripe olives the approach to rotting adds a special beauty to the fruit. The droop of ears of corn, the bent brows of the lion, the foam at a boar’s mouth, and many other things, are far from attractive in themselves, yet, since they accompany the works of Nature, they make part of her adornment, and rejoice the beholder.
Thus, if a man be sensitive to such things, and have a more than common penetration into the constitution of the whole, almost nothing connected with Nature will fail to give him pleasure, as he comes to understand it. Such a man will contemplate in the real world the fierce jaws of wild beasts with no less delight than the works of sculptors or painters. With like pleasure will his chaste eyes behold the maturity and grace of old age in man or woman, and the inviting charms of youth. Many such things will strike him, things not credible to the many, but which come to him alone who is truly familiar with the works of Nature and near to her own heart.
Marcus is hailing the beauty of nature, even when it is not, what we would think of as traditionally beautiful, in part through what we know this less beautiful state represents. A olive close to rotting looks good not because its inherently aesthetically pleasing, but because we know such an olive will be delicious. If we’re in tune with our environment, we can see beauty everywhere, not just in the refined works of the painter or sculptor. It important here that one needs to “know nature”. What does that mean, exactly? Marcus doesn’t say. But surely it means in part living and tasting the olive.
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