Monday, June 20, 2011

A Solstice Approaches . . .


. . . Unnoticed


By James Carroll

The Boston Globe
June 20, 2011


Once, humans were intimate with the cycles of nature, and never more than on the summer solstice. Vestiges of such awareness survive in White Nights and Midnight Sun festivals in far northern climes, and in neo-pagan adaptations of Midsummer celebrations, but contemporary people take little notice of the sun reaching its far point on the horizon. Tomorrow is the longest day of the year, the official start of the summer season, the fullest of light — yet we are apt to miss this phenomenon of Earth’s axial tilt, as we miss so much of what the natural world does in our surrounds.

In recent months, catastrophic weather events have dominated headlines as rarely before — earthquakes and tsunami in Asia; volcanic cloud in Europe; massive ice melts at the poles; tornadoes, floods, and fires in America. “Records are not just broken,” an atmospheric scientist said last week, “they are smashed.” Without getting into questions of causality, and without anthropomorphizing nature, we can still take these events as nature’s cri de coeur — as the degraded environment’s grabbing of human lapels to say, “Pay attention!”

To our ancestors in the deep past, that attention to nature was, well, natural. They made the evolutionary leap into human consciousness through close observation, among other things, of what heavenly bodies do in the sky. In a cosmos over which they had no control, paying attention to patterns of heat and cold, light and dark, rain and drought was a matter of survival. The invention of agriculture depended on awareness of seasons, so that times of planting and harvesting, herding and grazing, could be depended upon. Movements of the sun and moon were seen to have both influences on, and counterparts in, individual human experience — from mood swings to menstruation to aging. Astrology opened into astronomy, calculation into mathematics, scrutiny into science. Definitions of the calendar were essential to culture. The solstice was a marker of all this.

But this habit of regard for nature was essential also to the transition into modernity. Contemplation of the sun was nothing less than the incubator of our age. Copernicus and Galileo, after all, ushered humans into the breakthrough of testable knowledge by means of their study — one theorizing, the other experimenting — of Earth’s place in the solar system. The solstice, previously perceived as the sun’s standing still for a moment before reversing course on the horizon, would never be understood that way again. Heliocentrism initiated the maturing of science, which eventually would demonstrate that seasonal rhythms not only produce global dynamics of climate but also hormonal changes — daily, weekly, monthly — within the individual human body, each person biologically synchronized to the cosmic clock. Because of science, we were able to grasp the age of the earth — to know that there have been more than 4 billion summer solstices. Humans awakened to the full complexity of the universe.

Ironically, the accompanying social revolution of industrialization led to illusions of human mastery over nature, and ultimately to detached indifference toward it. Contemporary technological civilization became blinded to key phenomena of the living world, much as the night sky is blotted out by the artificial light of cities. Most recently, the cycles of time have given way to the eternal present of the computer screen — detachment squared. As humans came to know so much, we lost our grip on the knowledge with which we became human: our familiarity with the physical universe we live in. Imagining that we no longer needed nature, we ourselves became the great threat to nature. As our sense of the complexities of life quickened and deepened, our destructiveness of life also quickened and deepened. Through ambitions of unlimited growth, consumption, competitive manufacture, and self-expanding technology, we humans have become a mechanism of extinction. When we stopped noticing Earth, we began to destroy it.

Intimate awareness of nature and its cycles, as we saw, was an ancient mode of survival. But survival is at issue again. Noticing the length of light now, reveling in the sun’s achievement, rejoicing in Earth’s perfect balance, honoring the summer solstice — loving it: This is how we became human, and it is how we stay human.

James Carroll’s column appears regularly in the Globe.

Thursday, June 2, 2011

Bel Homme IV


Image: Subject and photographer unknown.

Tuesday, May 31, 2011

Maximum Significance


Due to its historical multivalence, the archive of associations which it has generated, the hare is rip to be . . . squeezed for maximum, even ultimately uncertain or inchoate significance. Amongst the kinds of things which it has been made or co-opted to signify is, precisely, this poetically open-ended or resonant quality. That said, they tend to cluster around a number of areas more or less troped upon its natural history: sex, death, speed and vitality, super-sensitivity, elusiveness and cunning; untamed or unfathomable "wildness," with only their sinister portentousness bucking the trend.

– Simon Carnell
Hare
pp 45-46

Image: Catherine Hyde.

Saturday, May 28, 2011

Bel Homme III

Image: Subject and photographer unknown.

Tuesday, May 24, 2011

Much in Common


The hare and the fox have much in common. They are both active by night, both symbols of the irrational, the intuitive, of cunning and the fickleness of the moon.

– George Ewart Evans and David Thomson
The Leaping Hare
p. 218



Image: Detail of "The Forest" tapestry by William Morris.

Sunday, May 15, 2011

The White Hare




The White Hare
By Seth Lakeman

I heard her in the valley,
I heard her in the dead of night.
The warning of a white hare
Her eyes burning bright.

Careful you don’t catch her
Or give her right of way.
For she will look upon you,
Steal your soul away

For the white hare is calling,
Dancing in the night.
She’ll be out ’til the morning,
With eyes burning bright.
The white hare is calling you.

Out upon the heather
A shadow came onto me.
Her hair was hanging over,
Her face I could not see.

She ran behind the rocks,
I heard the hounds cry,
The image of a woman
With her head held up high.

For the white hare is calling,
Dancing in the night.
She’ll be out ’til the morning
With eyes burning bright.
The white hare is calling you.

If you go hunting,
Calling out your prey,
If you see a fair maid,
With her hair ash and grey.

Careful you don’t catch her,
Give her right of way,
For she will look upon you,
Steal your soul away.



Recommended Off-site Link:
Seth Lakeland's Official Website

Thursday, May 5, 2011

Tan Lines XXXI


Image: Subject and photographer unknown.

Sunday, May 1, 2011

Thursday, April 28, 2011

Morning Light XXXVIII

Image: Subject and photographer unknown.

Sunday, April 24, 2011

The Easter Hare


According to Bede the name of the Christian festival of Easter was adopted from an Anglo-Saxon goddess called Eostre, spelt by other writers Eastre, Ostara, or Eastur. The name is cognate with Aurora, Eros and with Ushas, the Sanskrit for dawn. The month of April was called Eostur-monath, the Dawn month, and the pre-Christian festival of Easter included rites symbolic of death and resurrection. Few details are known, but there is no reason to think that it differed basically from other spring festivals such as that of Adonis . . . which were held in Western Asia and in Greek lands.

Eastre's favourite animal and attendant spirit was the hare. Little else is known about her, but it has been suggested that her lights, as goddess of the dawn, were carried by hares. . . . The hare was a companion of Aphrodite too, and of satyrs and cupids. Wedding rings in ancient Greece bore its image and in the Middle Ages it appears beside the figure of Luxuria [self-indulgent sexual desire, personified as one of the deadly sins]. Elsewhere it represented love, fertility and growth. It is associated with the moon, dawn and Easter not only in this respect – as a symbol of physical growth – but in their deeper, spiritual meanings: the enlightenment of the soul through death, redemption and resurrection. Like the Easter egg itself the hare is an emblem of body and soul.

– George Ewart Evans and David Thomson
The Leaping Hare
pp 132-134


Image: The Leveret.

Saturday, April 23, 2011

Body and Soul



Like a hare springing erect and bounding exuberantly across a dew-kissed field, the beauty and energy of the aroused male embodies the burgeoning life force often associated with spring.

The hare is symbolic of natural phenomena that connote actions of the aroused male: the
rising sun, the coming spring. In folklore, art and dreams, hares herald great bursts of energy and creativity. They are often thought to be touched by divine madness, by a spirit of anarchy that overturns dogmatic tradition and restrictions. They are tricksters, offering us new ways of seeing and being in the world. They are emblems of the integration of body and soul.


The hare was the Anglo-Saxon fertility goddess Eastre's companion and messenger. It is said that her illuminating and warming powers, as goddess of the dawn, were embodied and channeled by hares. Like her, they represent the love and carnal pleasure that can lead to flourishment, to renewal, to the blossoming forth of life. They therefore have a reputation for lusty sexuality and fecundity. One artist who has incorporated this symbolism into his work is Mexican painter and sculptor Francisco Toledo.


Simon Carnell notes that in Toledo's art, "conspicuously sexualized as well as trickster-like hares can be found copulating with, fellating and buggering human figures, in a literalization of their symbolic associations with sex." In Toledo's "Crafty Hare" (opening image) a man-hare possesses four erect penises, two as ears, and is surrounded by wasps with over-sized stingers (pricks!)


Image 1: Francisco Toledo.
Image 2: The Leveret.
Image 3: Robert Canis.
Image 4: Francisco Toledo.


Friday, April 22, 2011

Unhoused


[Hares'] speed, camouflage, lack of family life and even size are linked as adaptations to their principal behavioural difference from the rabbit, namely, the fact that they do not burrow. Though there are exceptions to this rule, with certain desert-dwelling hares using or extending the burrows of other animals to escape the sun, and with mountain hares occasionally using short burrows to escape predation from above, most hares make do instead with a 'form' or resting place which consists of only a narrow scrape on the surface of the earth. As a result of this, or an intimate parallel connection to being 'unhoused' or unprotected, hares are extremely precocial.* For whereas rabbits, like most small mammals, are born blind and naked in a prepared 'nest,' leverets are born fully furred, able to see, and able to move about soon after birth. . . . Whereas the rabbit is a large small animal, the hare has developed in ways more consistent with being a small large one.

– Simon Carnell
Hare
p. 61


* precocial – adjective. An animal species active and able to move freely from birth or hatching and requiring little parental care ( opposed to altricial).