Hermann Hesse on Tree Reverence

Some of my beliefs, thoughts, and feelings I am unable to express as well as others can do for me.  Hermann Hesse is one example, particularly on the topic of relationship with trees.

Right: Book cover illustration by Peter le Vasseur on the 1975 Picador/Pan Books Ltd. edition of Wandering, listed new at $1.75!

“Hermann Hesse was a German-Swiss poet, novelist, and painter. In 1946, he received the Nobel Prize for Literature. His best known works include Steppenwolf, Siddhartha, and The Glass Bead Game (also known as Magister Ludi) which explore an individual’s search for spirituality outside society.” —from goodreads Hesse author page

Hermann Hesse, Dutch National Archives

Hesse 1905 portrait by Ernst Würtenberger

Hesse 1946 Nobel Foundation

Hermann Hesse book “Wandering” (1920) translated from German by James Wright

Below I offer a large passage on trees from Hermann Hesse (1877-1962) in his book Wandering, Notes and Sketches (1920); translated by James Wright. New York: Farrar, Straus & Giroux, 1972:

There is a comprehensive review of the book at Hermitary.com.  It begins, “Hermann Hesse composed his little book Wanderung: Aufzeichnungen as fiction, but it reads as autobiography, as do most of his little sketches wherein a personable narrator reveals his convoluted emotions.  Wandering finds the fictional narrator at a psychological crossroads, and Hesse’s clear, simple, and heartfelt prose makes the book a candid and attractive reflection.”

Nuala’s Painting

In my essay, Angel Wing; An Illustrated Meditation on Nature Immersion, I mentioned Morris Mountain, with a picture of part of it.

If you’ve been following this blog, you’ve heard of Nuala, the non-resident Balsamean. She has been learning watercolor painting. She liked Morris Mountain enough to invest in it. Below is the photo, and her painted rendition, which is framed under glass in my bathroom with two old favorite photos. Thanks again, Nuala.

I’m glad to have another original piece in this little house.  I have a massive collection of photos of art in all media throughout the ages on my computer, but very little original art in the house.  There are a few nice prints that my parents gave me ages ago.  There are some framed photos, all mine except one forest scene from a friend.

The dominant piece is a painting by another watercolor student, Vivian Smithwick, that she framed and gave me as a gift 43 years ago in Portsmouth, Virginia.  Still in the same frame.  I doubt she’s still painting.  If she is, she would have to be well over a hundred years old.  She left me better than she found me.

Untitled Watercolor by Vivian Smithwick, 1976

Now I have a second original painting, from the early works of the only person who can ever be a non-resident Balsamean.  If she made the picture with crayons and the skill of a three year old, I’d cherish it as much or more.  (No offense to three year olds.)

You may think a bathroom is an odd home for a cherished watercolor, but think more.  It hangs in the most conspicuous place of all the walls in the house.  It is above the primary bath towel bar, across from the toilet, beside the shower.  It gets a lot of viewer “hits.”  No, bathroom moisture won’t hurt it.  It’s sealed under glass.

I’ll insert the picture below as intensive practice for learning not to care what people think of me, for Nuala’s sake:

Nuala’s picture is the one on the left. I’m patting myself on the back for getting a shot in such a small room that includes everything I included in my description of the picture’s location.

I am not jaded by all the years of looking at these two other pictures, old photos.  They are more than pictures.  They are moments, situations, experiences, people.

The new painting is all of that plus relationships with nature and with a person, the longest sustained, continually positive and productive human relationship of any kind I’ve had in my adult life.