without taking a drink of water.
How the Need-pleasures foreshadow our Need-loves is obvious enough. In the latter the beloved is seen in relation to our own needs, just as the scullery tap is seen by the thirsty man or the glass of gin by the alcoholic. And the Need-love, like the Need-pleasure, will not last longer than the need. This does not, fortunately, mean that all affections which begin in Need-love are transitory. The need itself may be permanent or recurrent. Another kind of love may be grafted on the Need-love. Moral principles (conjugal fidelity, filial piety, gratitude, and the like) may preserve the relationship for a lifetime. But where Need-love is left unaided we can hardly expect it not to ‘die on us’ once the need is no more. That is why the world rings with the complaints of mothers whose grown-up children neglect them and of forsaken mistresses whose lovers’ love was pure need – which they have satisfied. Our Need-love for God is in a different position because our need of Him can never end either in this world or in any other. But our awareness of it can, and then the Need-love dies too. ‘The Devil was sick, the Devil a monk would be.’ There seems no reason for describing as hypocritical the short-lived piety of those whose religion fades away once they have emerged from ‘danger, necessity, or tribulation’. Why should they not have been sincere? They were desperate and they howled for help. Who wouldn’t?
What Appreciative pleasure foreshadows is not so quickly described.
First of all, it is the starting point for our whole experience of beauty. It is impossible to draw a line below which such pleasures are ‘sensual’ and above which they are ‘aesthetic’. The experiences of the expert in claret already contain elements of concentration, judgment and disciplined perceptiveness, which are not sensual; those of the musician still contain elements which are. There is no frontier – there is seamless continuity – between the sensuous pleasure of garden smells and an enjoyment of the countryside (or ‘beauty’) as a whole, or even our enjoyment of the painters and poets who treat it.
And, as we have seen, there is in these pleasures from the very beginning a shadow or dawn of, or an invitation to, disinterestedness. Of course in one way we can be disinterested or unselfish, and far more heroically so, about the Need-pleasures: it is a cup of water that the wounded Sidney sacrifices to the dying soldier. But that is not the sort of disinterestedness I now mean. Sidney loves his neighbour. But in the Appreciative pleasures, even at their lowest, and more and more as they grow up into the full appreciation of all beauty, we get something that we can hardly help calling love and hardly help calling disinterested, towards the object itself. It is the feeling which would make a man unwilling to deface a great picture even if he were the last man left alive and himself about to die; which makes us glad of unspoiled forests that we shall never see; which makes us anxious that the garden or bean-field should continue to exist. We do not merely like the things; we pronounce them, in a momentarily God-like sense, ‘very good’.
And now our principle of starting at the lowest – without which ‘the highest does not stand’ – begins to pay a dividend. It has revealed to me a deficiency in our previous classification of the loves into those of Need and those of Gift. There is a third element in love, no less important than these, which is foreshadowed by our Appreciative pleasures. This judgment that the object is very good, this attention (almost homage) offered to it as a kind of debt, this wish that it should be and should continue being what it is even if we were never to enjoy it, can go out not only to things but to persons. When it is offered to a woman we call it admiration; when to a man, hero-worship; when to God, worship simply.
Need-love cries to God from our poverty; Gift-love longs to serve, or even to suffer for, God; Appreciative love says: ‘We give thanks to thee for thy great glory.’ Need-love says of a woman ‘I cannot live without her’; Gift-love longs to give her happiness, comfort, protection – if possible, wealth; Appreciative love gazes and holds its breath and is silent, rejoices that such a wonder should exist even if not for him, will not be wholly dejected by losing her, would rather have it so than never to have seen her at all.
We murder to dissect. In actual life, thank God, the three elements of love mix and succeed one another, moment by moment. Perhaps none of them except Need-love ever exists alone, in ‘chemical’ purity, for more than a few seconds. And perhaps that is because nothing about us except our neediness is, in this life, permanent.
Two forms of love for what is not personal demand special treatment.
For some people, perhaps especially for Englishmen and Russians, what we call ‘the love of nature’ is a permanent and serious sentiment. I mean here that love of nature which cannot be adequately classified simply as an instance of our love for beauty. Of course many natural objects – trees, flowers and animals – are beautiful. But the nature-lovers whom I have in mind are not very much concerned with individual beautiful objects of that sort. The man who is distracts them. An enthusiastic botanist is for them a dreadful companion on a ramble. He is always stopping to draw their attention to particulars. Nor are they looking for ‘views’ or landscapes. Wordsworth, their spokesman, strongly deprecates this. It leads to ‘a comparison of scene with scene’, makes you ‘pamper’ yourself with ‘meagre novelties of colour and proportion’. While you are busying yourself with this critical and discriminating activity you lose what really matters – the ‘moods of time and season’, the ‘spirit’ of the place. And of course Wordsworth is right. That is why, if you love nature in his fashion, a landscape painter is (out of doors) an even worse companion than a botanist.
It is the ‘moods’ or the ‘spirit’ that matter. Nature-lovers want to receive as fully as possible whatever nature, at each particular time and place, is, so to speak, saying. The obvious richness, grace and harmony of some scenes are no more precious to them than the grimness, bleakness, terror, monotony, or ‘visionary dreariness’ of others. The featureless itself gets from them a willing response. It is one more word uttered by nature. They lay themselves bare to the sheer quality of every countryside every hour of the day. They want to absorb it into themselves, to be coloured through and through by it.
This experience, like so many others, after being lauded to the skies in the nineteenth century, has been debunked by the moderns. And one must certainly concede to the debunkers that Wordsworth, not when he was communicating it as a poet, but when he was merely talking about it as a philosopher (or philosophaster), said some very silly things. It is silly, unless you have found any evidence, to believe that flowers enjoy the air they breathe, and sillier not to add that, if this were true, flowers would undoubtedly have pains as well as pleasures. Nor have many people been taught moral philosophy by an ‘impulse from a vernal wood’.
If they were, it would not necessarily be the sort of moral philosophy Wordsworth would have approved. It might be that of ruthless competition. For some moderns I think it is. They love nature in so far as, for them, she calls to ‘the dark gods in the blood’; not although, but because, sex and hunger and sheer power there operate without pity or shame.
If you take nature as a teacher she will teach you exactly the lessons you had already decided to learn; this is only another way of saying that nature does not teach. The tendency to take her as a teacher is obviously very easily grafted on to the experience we call ‘love of nature’. But it is only a graft. While we are actually subjected to them, the ‘moods’ and ‘spirits’ of nature point no morals. Overwhelming gaiety, insupportable grandeur, sombre desolation are flung at you. Make what you can of them, if you must make at all. The only imperative that nature utters is, ‘Look. Listen. Attend.’
The fact that this imperative is so often misinterpreted and sets people making theologies and pantheologies and antitheologies – all of which can be debunked – does not really touch the central experience itself. What nature-lovers – whether they are Wordsworthians or people with ‘dark gods in their blood’ – get from nature is an iconography, a language of images. I do not mean simply visual images; it is the ‘moods’ or ‘spirits’ themselves – the powerful expositions of
