WONDER’s a word that’s long carried with it strong implications of openness to joy. It’s a word that has been traced back to the origins of our English language. It isn’t a new emotion. And it’s typically our first response to the giddy depths of mystery.
Wonder has been credited with energising human curiosity, inspiring art and the origins of both religion and science. It penetrates deeply, extending the senses and animating the intellect.
Mystery energises us. Mystery gives us the appetite to strive to understand, first of all ourselves, and then in order to become what we should. Mystery makes it clear that we’re all humanity together, and that we inhabit a shared predicament. It’s one that makes us burn with awe and curiosity, so it’s good for us to talk with each other. But is also teaches us that cleverness is an illusion: it has too few dimensions to approach truth.
Mystery is neither good nor evil; it is enfolded into one human life no more or less than any other. Human lives can in turn only enfold themselves into the mystery, one at a time. The mystery is far more to be trusted than our deepest insight or anxiety. After all, as most other species seem to be aware, it’s where we are and how we all got to be here. So who are we to be picky?
The greatest gift mystery gives us is wonder… wonder’s essential to being human.
BUT, a little while ago, when I searched the word “mystery” in the “books” category at amazon.ca, the title that popped up at the top of the list was a work called: The Mystery Method: The Foolproof Way to Get Any Woman You Want Into Bed. So, expecting an tale of rejection and disappointment, I read the first “reader review”… but, no. It was glowing. And I soon had to look up “PUA” in Wikipedia. I discovered it means “pick up artist” and that there’s a “PUA” genre of “literature”.
Putting to one side the images this suggested of sullen, drooling men with low foreheads, their long, over-sized libidos slithering along behind them, I returned to amazon.ca where I discovered that, for $18.96, I could buy another favourably reviewed book called God is a Woman: Dating Disasters. Here, in a single non sequitur, was a title that simultaneously trivialised concepts of “god”, “woman”, “dating” and “disaster”. Breathing deeply, the moron images came right back.
It really gets wearisome, beating a path through the morass of mindlessness that the “rise of civilisation” has managed to generate.
We of the West claim to have spent thousands of years in the pursuit of knowledge, human dignity, truth and the “just” society… we have aimed for the stars, walked on the Moon and, inexplicably, wallow around in neurosis, vacuity, trashy dependencies, violence, despond, timidity and credulity, and the inane trivia that endlessly belches from the bowels of a global entertainment industry.
A human consciousness needs real food to flourish. It starves on trivialities and simulations. A healthy human consciousness sings with birds and breezes, weeps with a suffering friend, is grateful for goodness, needs and gives love, is distracted by beauty, seeks and values friendship, enjoys laughter, esteems intellect, is endlessly curious; it loves more readily than it hates, opposes injustice and is from time to time fired with inexplicable joy. But it has to be fed. It can’t thrive in stasis or find peace in one place: it has to journey.
A starting point is immediately at hand: beauty.
Although “beauty”, too, is a word that’s been savagely trivialised, beauty itself is inviolate. Beauty is an experience of the BE-ing of goodness. It attracts. It inspires. And it redeems words like “mystery” and “wonder” because beauty lies at their core.
Beauty, it is commonly said, lies in the eye of the beholder. That isn’t true. Beauty is primal. But beauty undoubtedly exists, long before it is beheld.
Among the varieties of stone most favored by sculptors in marble for more than two and a half millennia — since the time of the Athenian cultural efflorescence — has been the luminously white marble of Naxos, a small island in the Cyclades in the Aegean Sea.
Its fine grain and capacity to take a lustrous, polished finish made it a prized material for temples and statues of gods. Naxian marble has a capacity to glow as though it is on the point of being animated by an inner energy. Glistening in the brilliant Mediterranean sunshine of 2600 years ago, the freshly erected, 25-foot high statue in Naxian marble of Apollo in Delos must have been every bit as breath-taking as its creators intended.
It all begins with the sea: like time, its long, regular oceanic risings and valleyings, its sharper, breaking pitching and heaving, its rush to shores and hissing retreats, and beneath the sinewy flow of currents, a dark, seeming stillness. And beneath even that, there continue the achingly slow journeyings of the earth’s mantle itself… sliding and folding under to soften and grow molten or, prised upwards, rising and hardening so that the seas toss their wrack against new shores whilst patiently gnawing away at the old.
It all begins with the sea, like the surface-parting exhalations of whales that loom for air from their ringing depths, the majestic passage of sharks, the otherworldliness of depths where colour is washed away and countless creatures live lives that shake off everything we know from our circumscribed lives on earth to inhabit a three-dimensional freedom that surpasses even that of the globe-circling albatross; the heaving, changing otherness of it, the smell of it, the taste of it, the ever-presence of it, the plunge and crackle of surf, and the lurch of a surfboard catching the wave; the yawing roll of the deep ocean swell, lucent-black under a keel, and the trailing wake that slowly vanishes; oyster-clad rocks and spray-drenched mussel beds, tresses of kelp on the rocks, the thud and thrust of a filling sail and a ship’s churning wallow through the waves, that ship-smell of tar and cordage and iodine, the glowing trails of fish through phosphorescent subtropical seas at night while overhead the stars reflect on the open water where swells rise and fall as they did for millions of human lifetimes before the first human appeared, eons of motion, never the same, never different.
The loneliness of the sea’s constant, animated companionship, its power to console or destroy… this it where it all begins. Even the marble began here because, for at least 500 million years, small one-celled creatures called Foraminifera have teemed in the seas. We need microscopes to see them, but they take up calcium salts and carbon dioxide from the water and transform them into tiny shells for themselves. Their shapes are countless and striking in their life-formed beauty.
Over the millennia, these tiny creatures have lived and died, and their tiny shells rained slowly to the ocean floor to form deep beds of nearly pure sediment. The gathering weight compressed the small shells into limestone.
In some parts of the world, beds of limestone rock were lifted upwards by the planet’s slow re-adjustments. Water, slightly acidic from decaying plants and deepening soil, seeped into crevices and very gradually mined out dripping tunnels of underground watercourses and, as each small droplet of minerals-laden water evaporated, it left a trace of calcium carbonate behind. The residues turned underground caverns into pillared, chandeliered, glittering wonderlands that can be seen by human eyes only when people make their way into these unlikeliest of places — squeezing through tiny passages, scaling sheer, underground rock faces, swimming through dark pools and crawling through fine, clinging mud — then light lights and look about… and wonder. It is still possible to be the first person ever to stand in such a place and to reel with the revelation of it all.
In other parts of the world, the deep sheets of limestone were carried far into the Earth’s mantle: to depths where the core’s intense heat melts rock. Molten, the limestone was lifted again, and as it cooled, crystals formed. In a few places, where the limestone was sufficiently pure and the crystals that formed in the cooling were small, the rising layers contained lodes of fine-grained, white marble.
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| Marble quarry on the Aegean island of Naxos |
The neighbouring islands of Naxos and Paros rose from the sea endowed with such a stone. And, eventually, human beings stumbled upon this remarkable rock and, in their desire to honour the gods they’d moulded from the mystery, found a purpose for it that was appropriate to its worth. It is another wonder, an afterthought of nature, that placed beside the shimmering white marble are black seams of emery: the abrasive rock that is perfect substance with which to work the sculpted surface of marble to that heart-stopping polish.
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| A seam of black emery in Naxian marble. |
My point in all of this is that beauty cannot be confined to this place or that. It permeates our world and is discernible everywhere and its discernment is a conscious act that ignites feelings of hope and “rightness”, meaning and gratitude: a “fit” with goodness.
There’s something elemental and universal in its character. The beauty of a musical note has been a part of the Earth’s acoustic capacity since the Earth was formed. The beauty we experience in various configurations of light, of sound, or form may be more of less apparent in different ways to each of us but it is there for us all. Nor does beauty ever seem to be a sufficient end in itself: it propels consciousness forward. It nags at its every beholder to take the next step, to continue the journey.
When and where did our sense of beauty get marginalised? Why? How did the idea of “beauty” get reduced to a broad-spectrum, unnecessary buzz-word? What makes us so often the arbiters and trivialisers of beauty rather than its discoverers and celebrators?
Real beauty is everywhere. Every insect I’ve ever seen, every creature I’ve seen, has been a masterpiece of dynamic design, a fusion of form and function that fascinates the mind as well as inspiring the spirit … an aesthetic marvel. Scientists estimate there are close to 10 million different species of insect. They pollinate our fruit trees and flowers, they give us silk, they give us honey, they are food for many people … and most are benign: unsung contributors to our wellbeing. And, moreover, creatures like this have been around for 400 million years, compared with our 750,000 or so.
We have a few blueberry bushes that produce delicious, health-promoting fruit. Blueberries are the sort of thing we tend to talk about “by the pound” — and there's nothing like commodification to rip the meaning from things.
But look at the complexity of one single blueberry: the seed-bearing pale flesh that tastes so different from the astringent skin. But two flavours complement each other beautifully and uniquely. And they’re not really very “blue” at all. Each berry is a gifted thing to pop into your mouth, but it’s also beautiful in its form.
So what gives us the capacity to be transported by beautiful flavours?
And sounds …
And colours …
And smells…
And textures …
And sensations …
And what does it mean? We seem to have evolved with a capacity to apprehend an infinite array of beauty, and to grow our wisdom in its “soil”.
And, primed with beauty, consciousness itself can hope to become beautiful.
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