By Reuben Wheeler and F. Barraclough (Auth.)
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Additional resources for Man, Nature and Art
Sometimes the worst marksmen were allowed to throw first and if the sheaf were 44 M A N , N A T U R E A N D ART not cut after each one had thrown his sickle, it was left to the headservant to cut it. The successful reaper would then cry out in some such rhyme as: Bore y codais hi Hwyr y dilynais hi Mi ces hi, mi ces hi! ) He was then questioned by the rest: Beth gest ti? ) and would answer, together with the others, Gwrach, gwrach, gwrach! 5 Harvest and seedtime were the two foci for the larger human awareness for the continuing mystery of life and death.
The arts of the people spring out of the smaller communities within the larger one. If these communities are destroyed, if the larger one possesses no unified body of belief, then we get the situation which is prevailing today: the artist speaks only to and for the coteries within the community, and 36 M A N , N A T U R E A N D ART all coteries by their very nature reflect the minority aspects of community life. To the coteries, fashion, style, originality are of importance, and the profound and common experiences of the human race are ignored in a preference for the superficial and the mannered.
However, after the last two world wars we sense that this is not so. No matter how much we hide ourselves in our work, in our possessions and our pastimes, we know that the questions which man must have asked at the very beginning are still asked by us. " is the original question, which is also the origin of consciousness and of the ego. This fateful question faces every human being as soon as he arrives on the threshold of self-consciousness. With this question goes the significance of the discovery of birth and death, especially death: The realization of one's own mortality and the natural dread of its occurrence are personal experiences and calculated to make the individual disturbingly aware of the fact of his essential loneliness.