Douglas
Dalrymple at Afield Notes shares a pertinent reminder from William Herschel
(1738-1822), the German-born British astronomer and composer: “Seeing is in
some respects an art, which must be learnt.” Not a surprising observation from
the man who discovered the planet Uranus in 1781. For a splendid account of
Herschel’s life and work see Richard Holmes’ The Age of Wonder: The Romantic Generation and the Discovery of the
Beauty and Terror of Science (2009). In this Age of Distraction, when
screen-rapt people walk into traffic, seeing may well be a dying art, like
letter writing and growing an edible apple. Herschel’s warning arrived the same
day Edward M. Burns wrote to say he is editing the correspondence of Guy Davenport
and Hugh Kenner, and that a small selection of the more than 1,000 letters in
their exchange is published in the current issue of The Hopkins Review. Burns is tentatively titling the book Questioning Minds: The Letters of Hugh
Kenner and Guy Davenport.
The
preeminence of vision, of attentive and retentive observation, is everywhere in
Davenport’s work, and here it is in a letter he writes to Kenner on March 30,
1970: “Strategy to be recommended to any bright young mind: stray, wander, and
meander, and pay attention to what things look like not only from here, but
also from there.” That reads like a fine-tuning of Herschel’s admonition –
observe, yes, but not from a single, limited perspective (one of the lessons of
Cubism). Consider that in the adjacent paragraphs Davenport sorts through Hilaire
Belloc, the Abbé Henri Breuil, Picasso, R. Buckminster Fuller and Samuel
Beckett. At age forty-two, Davenport was entering his decade mirabilis. In his finest essay, “Finding” (The Geography of the Imagination, 1981),
he recounts his family’s Sundays spent searching for arrowheads near their home
in Anderson, S.C. He writes: “Our understanding was that the search was the
thing, the pleasure of looking.” Then he adds, sadly, of those denied a fully
conscious life:
“It
took a while for me to realize that people can grow up without being taught to
see, to search surfaces for all the details, to check out a whole landscape for
what it has to offer.”
1 comment:
Looking at things from multiple perspectives as per Picasso is mirrored in Ulysses, certainly. It is seen as a sign of maturity in Bloom.
I learnt how to look and to find from a bird-watcher who managed to extract sights and sounds from a landscape,with apparent effortlessness. Most would have missed them and would have underestimated what nature has to offer. He regularly heard birds before we saw them.
Post a Comment