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“A thing is right when it tends to preserve the integrity, stability, and beauty of the biotic community. It is wrong when it tends otherwise.”
Aldo Leopold (January 11, 1887 – April 21, 1948) was an American author, scientist, ecologist, forester, and environmentalist. He was a professor at the University of Wisconsin and is best known for his book A Sand County Almanac, which has sold more than two million copies.
“The Green Pasture,” Aldo Leopold, Sand County Almanac, 1949
Some paintings become famous because, being durable, they are viewed by successive generations, in each of which are likely to be found a few appreciative eyes.
I know a painting so evanescent that it is seldom viewed at all, except by some wandering deer. It is a river who wields the brush, and it is the same river who, before I can bring my friends to view his work, erases it forever from human view. After that it exists only in my mind’s eye.
Like other artists, my river is temperamental; there is no predicting when the mood to paint will come upon him, or how long it will last. But in midsummer, when the great white fleets cruise the sky for day after flawless day, it is worth strolling down to the sandbars just to see whether he has been at work.
The work begins with a broad ribbon of silt brushed thinly on the sand of a receding shore. As this dries slowly in the sun, goldfinches bathe in its pools, and deer, herons, killdeers, raccoons, and turtles cover it with a lacework of tracks. There is no telling, at this stage, whether anything further will happen.
But when I see the silt ribbon turning green with Eleocharis, I watch closely thereafter, for this is the sign that the river is in a painting mood. Almost overnight the Eleocharis becomes a thick turf, so lush and dense that the meadow mice from the adjoining upland cannot resist the temptation. They move en masse to the green pasture, and apparently spend the nights rubbing their ribs in its velvety depths. A maze of neatly tended mouse-trails bespeaks their enthusiasm. The deer walk up and down in it, apparently just for the pleasure of feeling it underfoot. Even a stay-at-home mole has tunneled his way across the dry bar to the Eleocharis ribbon, where he can heave and hump the verdant sod to his heart’s content.
At this stage the seedlings of plants too numerous to count and too young to recognize spring to life from the damp warm sand under the green ribbon.
To view the painting, give the river three more weeks of solitude, and then visit the bar on some bright morning just after the sun has melted the daybreak fog. The artists has now laid his colors, and sprayed them with dew. The Eleocharis sod, greener than ever, is now spangled with blue mimulus, pink dragon-head, and the milk-white blooms of Sagittaria. Here and there a cardinal flower thrusts a red spear skyward. At the head of the bar, purple ironweeds and pale pink joe-pyes stand tall against the wall of willows. And if you have come quietly and humbly, as you should to any spot that can be beautiful only once, you may surprise a fox-red deer, standing knee-high in the garden of his delight.
Do not return for a second view of the green pasture, for there is none. Either falling water has dried it out, or rising water has scoured the bar to its original austerity of clean sand. But in your mind you may hang up your picture, and hope that in some other summer the mood to paint may come upon the river.