The Legacy of Robinson Jeffers
TEMJ 20331 - Robinson Jeffers, Environmentalism, Inhumanism Philosophy, Tor House, Hawk Tower, Literary Legacy, Ansel Adams Collaboration, Delayed Recognition, Nature Reverence, Time Magazine Cover
Greetings fellow Earthmonks!
From time to time, I will post journal entries that feature a titan of conservation and environmentalism. I feature those individuals who are with us now and those who have left an indelible stamp on nature. As I write this, there is a very long list of names running through my mind and Robinson Jeffers is one of them.
The founders of conservation and preservation in America, were visionary individuals who recognized the importance of protecting the nation's natural resources. Figures like Henry David Thoreau, Rachel Carson, John Muir, Marjory Stoneman Douglas, Theodore Roosevelt and Estella Leopold played significant roles in shaping the conservation movement. Their legacies continue to inspire and guide conservation efforts across the United States, ensuring the preservation of America's natural treasures for future generations.
Robinson Jeffers
Robinson Jeffers (January 10, 1887 – January 20, 1962), a prominent figure featured in this entry of the Earthmonk Journal, stands as one of the foundational contributors to the realms of conservation and preservation. Revered as a poet and philosopher, Jeffers left an indelible mark on environmentalism through his profound reflections on nature and humanity.
Robinson Jeffers, despite gracing the cover of Time magazine in 1932 and being honored on a stamp in 1973, has remained relatively obscure. Astonishingly, a comprehensive scholarly edition of his work only emerged in 2001, and his collected works were not published until after 1980 by Stanford University Press. This well deserved recognition reveals the depth and significance of Jeffers' contributions to American literature, environmentalism, and philosophy.
Jeffers' work serves as a testament to his commitment to promoting a deeper understanding of our place within the broader fabric of existence, making him a trailblazer in the field of environmental consciousness.
Jeffers’ Contributions and Legacy
Robinson Jeffers made significant contributions to environmentalism through his profound and evocative poetry that reflected a keen love for nature. His works, such as "The Beginning and the End" and "Carmel Point," celebrated the sublime beauty of the natural world, emphasizing the interconnectedness of all living things. Jeffers' poetry often served as a powerful call to action, urging readers to appreciate and protect the environment.
Jeffers was an early advocate for conservation, recognizing the importance of preserving the Earth's resources for future generations. His inhumanist philosophy encouraged a shift in perspective from human-centric concerns to a broader awareness of the magnificence of the non-human world. Through vivid imagery and contemplative verses, Jeffers conveyed a deep reverence for the wilderness, coastlines, and celestial bodies.
His commitment to environmental consciousness extended beyond his poetry. Jeffers and his wife Una established Tor House and Hawk Tower in Carmel, California, embracing a sustainable lifestyle and harmonizing their home with the surrounding landscape. His personal and artistic life reflected a holistic approach to environmental stewardship.
Robinson Jeffers' legacy lies not only in his poetic contributions but also in his role as a precursor to the environmental movement. His writings continue to inspire ecologically conscious individuals, fostering a profound appreciation for nature and a commitment to its preservation. Jeffers remains a timeless figure whose work advocates for a harmonious relationship between humanity and the natural world.
Let us take a moment to review the symbolism, themes and philosophy in three of his poems.
Carmel Point
Robinson Jeffers introduced the term "inhumanism" to express his belief that human beings are excessively self-centered and often fail to appreciate the "astonishing beauty of things" beyond themselves. In the poem "Carmel Point," Jeffers emphatically urges a departure from human-centered perspectives, advocating for a fundamental shift in consciousness. The poet calls upon individuals to "uncenter" themselves, emphasizing the need to break free from the anthropocentric mindset that places human concerns at the forefront of existence.
"Carmel Point" underscores Jeffers' inhumanist philosophy by portraying the limitations of human preoccupations in the face of the vast and enduring beauty of the natural world. The poem encourages a humble acknowledgment of humanity's small place within the grand fabric of the cosmos. By urging individuals to uncenter themselves, Jeffers prompts a reevaluation of priorities and a recognition of the intrinsic value present in the broader, non-human elements of existence.
The call to uncenter oneself aligns with the inhumanist principles, advocating for a more expansive and inclusive consciousness that acknowledges the significance of the world beyond human affairs. "Carmel Point" serves as a poignant expression of Jeffers' plea for a deeper connection with the astonishing beauty that transcends human-centric concerns.
The extraordinary patience of things! This beautiful place defaced with a crop of suburban houses— How beautiful when we first beheld it, Unbroken field of poppy and lupin walled with clean cliffs; No intrusion but two or three horses pasturing, Or a few milch cows rubbing their flanks on the outcrop rockheads— Now the spoiler has come: does it care? Not faintly. It has all time. It knows the people are a tide That swells and in time will ebb, and all Their works dissolve. Meanwhile the image of the pristine beauty Lives in the very grain of the granite, Safe as the endless ocean that climbs our cliff.—As for us: We must uncenter our minds from ourselves; We must unhumanize our views a little, and become confident As the rock and ocean that we were made from.
Sign-Post
In the poem "Sign-post," Robinson Jeffers encapsulates his inhumanist philosophy, urging a transcendence of human-centric perspectives. The poem advises turning away from humanity, encouraging a focus on the beauty and divinity inherent in the natural world. Jeffers directs attention to lilies and silent rocks, inviting contemplation of their intrinsic value. By disconnecting from human concerns and embracing the silent stars, one can ascend beyond the limitations of self and societal constructs.
The poet suggests that by appreciating the inherent beauty in things, one can connect with a higher, transcendent reality. Jeffers contends that this shift in perspective allows individuals to experience a divine connection with the universe, where love for things replaces love for humanity. The poem encourages a profound communion with nature, emphasizing the transformative power of directing one's gaze towards the silent and majestic elements of the cosmos.
In the concluding lines, Jeffers asserts that by loving the beauty of things, individuals can truly become human. This paradoxical statement suggests that true humanity is found in embracing a broader, inhumanist perspective—being born not merely of human origin but also of the rock, the air, and the cosmic elements that shape the vastness of existence. "Sign-post" exemplifies Jeffers' call for a spiritual and existential expansion beyond the confines of human-centric consciousness.
Turn outward, love things, not men, turn right away from humanity, Let that doll lie. Consider if you like how the lilies grow, Lean on the silent rock until you feel its divinity Make your veins cold, look at the silent stars, let your eyes Climb the great ladder out of the pit of yourself and man. Things are so beautiful, your love will follow your eyes. Things are the God, you will love God, and not in vain. For what we love, we grow to it, we share its nature. ... Now you are free to become human. But born of the rock and the air, not of a woman.
The Beginning and The End
In the poem "The Beginning and the End," Robinson Jeffers contemplates the essence of life, challenging the conventional notion that only animate beings possess it. He suggests that life permeates not only living organisms but extends to the inanimate elements of the universe. Jeffers questions the chemical processes that give rise to complex emotions, asserting that pleasure, pain, wonder, love, adoration, hatred, and terror are inherent in the rocks, earth, planets, stars, and galaxies.
For Jeffers, consciousness is ubiquitous, distributed across all things, with each element possessing its own awareness. He likens the nerves and brain of animals to a burning-glass, concentrating the universal consciousness into focused experiences. The poem acknowledges the primal, instinctual nature of living beings, contrasting the clamorous existence of animals with the silent, stoic preference of stones. Jeffers emphasizes the interconnectedness of all things, likening it to the cells in a human body that collectively form one being, one consciousness, one life, and, metaphorically, one God. "The Beginning and the End" encapsulates Jeffers' inhumanist philosophy, urging readers to recognize the pervasive life force that unites the entire cosmos.
What is this thing called life? I believe That the earth and the stars too, and the whole glittering universe, and rocks on the mountains have life, Only we do not call it so--I speak of the life That oxidizes fats and proteins and carbo- Hydrates to live on, and from that chemical energy Makes pleasure and pain, wonder, love, adoration, hatred and terror: how do these things grow From a chemical reaction? I think they were here already, I think the rocks And the earth and the other planets, and the stars and the galaxies have their various consciousness, all things are conscious; But the nerves of an animal, the nerves and brain Bring it to focus; the nerves and brain are like a burning-glass To concentrate the heat and make it catch fire: It seems to us martyrs hotter than the blazing hearth From which it came. So we scream and laugh, clamorous animals Born howling to die groaning: the old stones in the dooryard Prefer silence; but those and all things have their own awareness, As the cells of a man have; they feel and feed and influence each other, each unto all, Like the cells of a man's body making one being, They make one being, one consciousness, one life, one God.
Tor House and Hawk Tower
Robinson Jeffers' profound connection to the rugged landscapes of California found tangible expression in the creation of "Tor House" and "Hawk Tower," two homes that stand as testaments to his commitment to conservation and harmonious living with nature. Tor House, a small stone cottage in Carmel, was constructed by Jeffers and his wife Una in 1919. It served as a sanctuary where the poet sought inspiration from the surrounding natural beauty.
Later, Hawk Tower was added, a structure crafted from local stone, shells, and driftwood. These homes were not only architectural marvels but also embodied Jeffers' philosophy of inhumanism, integrating sustainable living practices and reflecting his deep reverence for the environment. Through Tor House and Hawk Tower, Jeffers forged a physical connection between his daily existence and the rugged beauty of the Californian landscape, symbolizing his enduring dedication to conservation and living in harmony with the natural world.
Influence on Others
Robinson Jeffers maintained significant associations with influential figures, each contributing to his diverse intellectual landscape. Edward Abbey, an American author and environmentalist, shared Jeffers' passion for nature. While Abbey's work focused on the American Southwest such as “Desert Solitaire”, and his reverence for the environment resonated with Jeffers' inhumanist philosophy.
Renowned photographer Ansel Adams, known for his iconic landscapes, collaborated with Jeffers on the book "Not Man Apart," a testament to their shared commitment to environmentalism. The collaboration sought to convey the interconnectedness of humanity and nature.
D.H. Lawrence, the English writer, and poet, explored themes of nature, mysticism, and human consciousness, aligning with Jeffers' philosophical concerns. Their mutual exploration of primal forces in nature likely influenced each other's perspectives.
Jiddu Krishnamurti, a philosopher and spiritual teacher, engaged in dialogues with Jeffers, exchanging ideas on consciousness and the human condition. Krishnamurti's emphasis on self-awareness and transcendence complemented Jeffers' inhumanist philosophy.
These associations showcase Jeffers' ability to engage with diverse intellectual currents, from environmentalism with Abbey and Adams, to profound philosophical discussions with Lawrence and Krishnamurti. The intersection of these influential figures in Jeffers' life further illuminates the multidimensional nature of his intellectual and artistic legacy.
Trails End
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