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The Breath of Life by John Burroughs
The Breath of Life by John Burroughs
When for the third or fourth time during the spring or summer I take my hoe and go out and cut off the heads of the lusty burdocks that send out their broad leaves along the edge of my garden or lawn, I often ask myself, "What is this thing that is so hard to scotch here in the grass?" I decapitate it time after time and yet it forthwith gets itself another head.
We call it burdock, but what is burdock, and why does it not change into yellow dock, or into a cabbage? What is it that is so constant and so irrepressible, and before the summer is ended will be lying in wait here with its ten thousand little hooks to attach itself to every skirt or bushy tail or furry or woolly coat that comes along, in order to get free transportation to other lawns and gardens, to green fields and pastures new?
It is some living thing; but what is a living thing, and how does it differ from a mechanical and non-living thing? If I smash or overturn the sundial with my hoe, or break the hoe itself, these things stay smashed and broken, but the burdock mends itself, renews itself, and, if I am not on my guard, will surreptitiously mature some of the burs before the season is passed.
Evidently a living thing is radically different from a mechanical thing; yet modern physical science tells me that the burdock is only another kind of machine, and manifests nothing but the activity of the mechanical and chemical principles that we see in operation all about us in dead matter; and that a little different mechanical arrangement of its ultimate atoms would turn it into a yellow dock or into a cabbage, into an oak or into a pine, into an ox or into a man.
I see that it is a machine in this respect, that it is set going by a force exterior to itself-the warmth of the sun acting upon it, and upon the moisture in the soil; but it is unmechanical in that it repairs itself and grows and reproduces itself, and after it has ceased running can never be made to run again. After I have reduced all its activities to mechanical and chemical principles, my mind seems to see something that chemistry and mechanics do not explain-something that avails itself of these forces, but is not of them. This may be only my anthropomorphic way of looking at things, but are not all our ways of looking at things anthropomorphic? How can they be any other? They cannot be deific since we are not gods. They may be scientific. But what is science but a kind of anthropomorphism? Kant wisely said, "It sounds at first singular, but is none the less certain, that the understanding does not derive its laws from nature, but prescribes them to nature." This is the anthropomorphism of science.
If I attribute the phenomenon of life to a vital force or principle, am I any more unscientific than I am when I give a local habitation and a name to any other causal force, as gravity, chemical affinity, cohesion, osmosis, electricity, and so forth? These terms stand for certain special activities in nature and are as much the inventions of our own minds as are any of the rest of our ideas.
We can help ourselves out, as Haeckel does, by calling the physical forces-such as the magnet that attracts the iron filings, the powder that explodes, the steam that drives the locomotive, and the like-"living inorganics," and looking upon them as acting by "living force as much as the sensitive mimosa does when it contracts its leaves at touch." But living force is what we are trying to differentiate from mechanical force, and what do we gain by confounding the two? We can only look upon a living body as a machine by forming new conceptions of a machine-a machine utterly unmechanical, which is a contradiction of terms.
A man may expend the same kind of force in thinking that he expends in chopping his wood, but that fact does not put the two kinds of activity on the same level. There is no question but that the food consumed is the source of the energy in both cases, but in the one the energy is muscular, and in the other it is nervous. When we speak of mental or spiritual force, we have as distinct a conception as when we speak of physical force. It requires physical force to produce the effect that we call mental force, though how the one can result in the other is past understanding. The law of the correlation and conservation of energy requires that what goes into the body as physical force must come out in some form of physical force-heat, light, electricity, and so forth.
Science cannot trace force into the mental realm and connect it with our states of consciousness. It loses track of it so completely that men like Tyndall and Huxley and Spencer pause before it as an inscrutable mystery, while John Fiske helps himself out with the conception of the soul as quite independent of the body, standing related to it as the musician is related to his instrument. This idea is the key to Fiske's proof of the immortality of the soul. Finding himself face to face with an insoluble mystery, he cuts the knot, or rather, clears the chasm, by this extra-scientific leap. Since the soul, as we know it, is inseparably bound up with physical conditions, it seems to me that a more rational explanation of the phenomenon of mentality is the conception that the physical force and substance that we use up in a mental effort or emotional experience gives rise, through some unknown kind of molecular activity, to something which is analogous to the electric current in a live wire, and which traverses the nerves and results in our changing states of consciousness. This is the mechanistic explanation of mind, consciousness, etc., but it is the only one, or kind of one, that lends itself to scientific interpretation. Life, spirit, consciousness, may be a mode of motion as distinct from all other modes of motion, such as heat, light, electricity, as these are distinct from each other.
When we speak of force of mind, force of character, we of course speak in parables, since the force here alluded to is an experience of our own minds entirely and would not suffice to move the finest dust-particle in the air.
There could be no vegetable or animal life without the sunbeam, yet when we have explained or accounted for the growth of a tree in terms of the chemistry and physics of the sunbeam, do we not have to figure to ourselves something in the tree that avails itself of this chemistry, that uses it and profits by it? After this mysterious something has ceased to operate, or play its part, the chemistry of the sunbeam is no longer effective, and the tree is dead.
Without the vibrations that we call light, there would have been no eye. But, as Bergson happily says, it is not light passively received that makes the eye; it is light meeting an indwelling need in the organism, which amounts to an active creative principle, that begets the eye. With fish in underground waters this need does not arise; hence they have no sight. Fins and wings and legs are developed to meet some end of the organism, but if the organism were not charged with an expansive or developing force or impulse, would those needs arise?
Why should the vertebrate series have risen through the fish, the reptile, the mammal, to man, unless the manward impulse was inherent in the first vertebrate; something that struggled, that pushed on and up from the more simple to the more complex forms? Why did not unicellular life always remain unicellular? Could not the environment have acted upon it endlessly without causing it to change toward higher and more complex forms, had there not been some indwelling aboriginal tendency toward these forms? How could natural selection, or any other process of selection, work upon species to modify them, if there were not something in species pushing out and on, seeking new ways, new forms, in fact some active principle that is modifiable?
Life has risen by stepping-stones of its dead self to higher things. Why has it risen? Why did it not keep on the same level, and go through the cycle of change, as the inorganic does, without attaining to higher forms? Because, it may be replied, it was life, and not mere matter and motion-something that lifts matter and motion to a new plane.
Under the influence of the life impulse, the old routine of matter-from compound to compound, from solid to fluid, from fluid to gaseous, from rock to soil, the cycle always ending where it began-is broken into, and cycles of a new order are instituted. From the stable equilibrium which dead matter is always seeking, the same matter in the vital circuit is always seeking the state of unstable equilibrium, or rather is forever passing between the two, and evolving the myriad forms of life in the passage. It is hard to think of the process as the work of the physical and chemical forces of inorganic nature, without supplementing them with a new and different force.
The forces of life are constructive forces, and they are operative in a world of destructive or disintegrating forces which oppose them and which they overcome. The physical and chemical forces of dead matter are at war with the forces of life, till life overcomes and uses them.
The mechanical forces go on repeating or dividing through the same cycles forever and ever, seeking a stable condition, but the vital force is inventive and creative and constantly breaks the repose that organic nature seeks to impose upon it.
External forces may modify a body, but they cannot develop it unless there is something in the body waiting to be developed, craving development, as it were. The warmth and moisture in the soil act alike upon the grains of sand and upon the seed-germs; the germ changes into something else, the sand does not. These agents liberate a force in the germ that is not in the grain of sand. The warmth of the brooding fowl does not spend itself upon mere passive, inert matter (unless there is a china egg in the nest), but upon matter straining upon its leash, and in a state of expectancy. We do not know how the activity of the molecules of the egg differs from the activity of the molecules of the pebble, under the influence of warmth, but we know there must be a difference between the interior movements of organized and unorganized matter.
Life lifts inert matter up into a thousand varied and beautiful forms and holds it there for a season,-holds it against gravity and chemical affinity, though you may say, if you please, not without their aid,-and then in due course lets go of it, or abandons it, and lets it fall back into the great sea of the inorganic. Its constant tendency is to fall back; indeed, in animal life it does fall back every moment; it rises on the one hand, serves its purpose of life, and falls back on the other. In going through the cycle of life the mineral elements experience some change that chemical analysis does not disclose-they are the more readily absorbed again by life. It is as if the elements had profited in some way under the tutelage of life. Their experience has been a unique and exceptional one. Only a small fraction of the sum total of the inert matter of the globe can have this experience. It must first go through the vegetable cycle before it can be taken up by the animal. The only things we can take directly from the inorganic world are water and air; and the function of water is largely a mechanical one, and the function of air a chemical one.
I think of the vital as flowing out of the physical, just as the psychical flows out of the vital, and just as the higher forms of animal life flow out of the lower. It is a far cry from man to the dumb brutes, and from the brutes to the vegetable world, and from the vegetable to inert matter; but the germ and start of each is in the series below it. The living came out of the not-living. If life is of physico-chemical origin, it is so by transformations and translations that physics cannot explain. The butterfly comes out of the grub, man came out of the brute, but, as Darwin says, "not by his own efforts," any more than the child becomes the man by its own efforts.
The push of life, of the evolutionary process, is back of all and in all. We can account for it all by saying the Creative Energy is immanent in matter, and this gives the mind something to take hold of.
Cold as the day was (many degrees below freezing), I heard and saw bluebirds, and as we passed along, every sheltered tangle and overgrown field or lane swarmed with snowbirds and sparrows, --the latter mainly Canada or tree sparrows, with a sprinkling of the song, and, maybe, one or two other varieties. The birds are all social and gregarious in winter, and seem drawn together by common instinct. Where you find one, you will not only find others of the same kind, but also several different kinds
In the early spring, the blooming of the wildflower trillium — also known as "wake-robin" — heralds the return of migrating birds. In Wake-Robin: A Collection of Essays About the Birds, John Burroughs offers absorbing reading for birdwatchers, nature lovers, and anyone interested in ecology and conservation. This 1871 collection of essays by the distinguished naturalist showcases his special gift for combining scientific accuracy with a grand poetic expression. These essays particularly focus on birds of the Adirondacks and the Washington, D.C. region. "What I offer, in fact, is a careful and conscientious record of actual observations and experiences, and is true as it stands written, every word of it. But what has interested me most in ornithology is the pursuit, the chase, the discovery," he notes, adding that "I have tried to present a live bird, a bird in the woods or the fields, with the atmosphere and associations of the place, and not merely a stuffed and labeled specimen." Although scrupulously factual, Burroughs' investigations are less those of a scientist and more in the nature of an experienced and articulate observer who delights in sharing the timeless joys of birdwatching and the outdoors.
Wake-Robin - The Writings of John Burroughs. Volume I. John Burroughs (April 3, 1837 – March 29, 1921) was an American naturalist and nature essayist, active in the U.S. conservation movement. The first of his essay collections was Wake-Robin in 1871. In the words of his biographer Edward Renehan, Burroughs' special identity was less that of a scientific naturalist than that of "a literary naturalist with a duty to record his own unique perceptions of the natural world." The result was a body of work whose resonance with the tone of its cultural moment explains both its popularity at that time, and its relative obscurity since. Burroughs had his first break as a writer in the summer of 1860 when the Atlantic Monthly, then a fairly new publication, accepted his essay Expression. Editor James Russell Lowell found the essay so similar to Emerson's work that he initially thought Burroughs had plagiarized his longtime acquaintance. Poole's Index and Hill's Rhetoric, both periodical indexes, even credited Emerson as the author of the essay. In 1864, Burroughs accepted a position as a clerk at the Treasury; he would eventually become a federal bank examiner, continuing in that profession into the 1880s. All the while, he continued to publish essays, and grew interested in the poetry of Walt Whitman. During the Civil War Burroughs met Whitman in Washington DC, and the two became close friends. Whitman encouraged Burroughs to develop his nature writing as well as his philosophical and literary essays. In 1867, Burroughs published Notes on Walt Whitman as Poet and Person, the first biography and critical work on the poet, which was extensively (and anonymously) revised and edited by Whitman himself before publication. Four years later, the Boston house of Hurd & Houghton published Burroughs's first collection of nature essays, Wake-Robin.
Elisa watched as the most important people in her life showered the evil imposter-The fake heiress, with love. Elisa, the lost daughter of one of the most wealthiest family was found 18 years later and was brought back to her rightful home. However, someone had already taken her place. A fake heiress, the pampered little princess. Her coy acting and innocent façade made Elisa's real mother love her more than Elisa, her real daughter. That made Elisa, though, the true daughter end up as an adopted child. "Elisa, could you try not to appear in front of her too much as it could trigger her insecurities." Her parents had told her because of the fake heiress. "Elisa, You've taken everything away from her. Why can't you give her a little more?" Her fiancé had ordered her. Because of an unfortunate accident plotted by Isabelle-The fake heiress, Elisa was sent to prison and her family cut ties with her without a second thought. Four years, after much torture which led to her being crippled and blind on one eye, she was released, but got hit by a truck. While laying on the pool of her blood, she wanted to question, Why? Why had they all treated her so cruelly, while they love Isabelle unconditionally? She badly wanted to rip off Isabelle's mask of innocence, to reveal the fake, manipulative woman beneath. She was full of hatred. But after her death, she woke up back to when she was 18 years like all that happened were all nightmare. She was elated. She was reborn to re-live all that had happened in her last life, but now, her mission was to reveal mask beneath that woman and make everyone that made her suffer in her past life pay. It was her time for revenge! And definitely, she won't mess this up!
Isabelle Everett's perfect life crumbles when her billionaire husband, Damion Ryder, serves her divorce papers on their anniversary. Betrayal, heartbreak, and deceit propel her into a six-year journey of self-discovery. Now, with secrets exposed and old flames rekindled, Isabelle must choose between the man who broke her heart or her high school sweetheart, the one who's always loved her but has an ulterior motive. Will forgiveness transform their lives, or will the past destroy their future?
Katherine endured mistreatment for three years as Julian's wife, sacrificing everything for love. But when his sister drugged her and sent her to a client's bed, Katherine finally snapped. She left behind divorce papers, walking away from the toxic marriage. Years later, Katherine returned as a radiant star with the world at her feet. When Julian saw her again, he couldn't ignore the uncanny resemblance between her new love and himself. He had been nothing but a stand-in for someone else. Desperate to make sense of the past, Julian pressed Katherine, asking, "Did I mean nothing to you?"
"I heard you're going to marry Marcelo. Is this perhaps your revenge against me? It's very laughable, Renee. That man can barely function." Her foster family, her cheating ex, everyone thought Renee was going to live in pure hell after getting married to a disabled and cruel man. She didn't know if anything good would ever come out of it after all, she had always thought it would be hard for anyone to love her but this cruel man with dark secrets is never going to grant her a divorce because she makes him forget how to breathe.
"Stella once savored Marc's devotion, yet his covert cruelty cut deep. She torched their wedding portrait at his feet while he sent flirty messages to his mistress. With her chest tight and eyes blazing, Stella delivered a sharp slap. Then she deleted her identity, signed onto a classified research mission, vanished without a trace, and left him a hidden bombshell. On launch day she vanished; that same dawn Marc's empire crumbled. All he unearthed was her death certificate, and he shattered. When they met again, a gala spotlighted Stella beside a tycoon. Marc begged. With a smirk, she said, ""Out of your league, darling."
"There will be no falling in love, we will only act as a loving couple when we are in public, we will share a room to make it believable, but no intimacy, touching is off-limits. We'll only have sex once a month, and that's solely to produce an heir. You won't interfere in my business, and I won't interfere in yours. You will be my wife in every sense and you will not be involved with any other man," he said, arrogance seeping from every word. I watch his mouth move, I'm not ready to fall in love with any man, especially not one as arrogant and egoistic as him. I can handle acting as a loving couple, and as for intimacy once a month. I can agree to that just to satisfy my sexual cravings with no strings attached. "Where can I sign?" I asked since I had nothing to lose. *** Nadine's wedding dreams turned to nightmares when she caught her sister and fiancé cheating! With a secret recording, she's ready for revenge. But then mysterious billionaire Logan West offers a deal: A Contract Marriage to take down her ex's empire. But what Nadine doesn't know is her life is getting complicated as she takes her chance to get revenge or risks everything for a chance at love?"
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