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He is a singular character — a young man with much of wild original nature still remaining in him; and so far as he is sophisticated, it is in a way and method of his own. He is as ugly as sin, long-nosed, queer-mouthed, and with uncouth and rustic, though courteous manners, corresponding very well with such an exterior. But his ugliness is of an honest and agreeable fashion, and becomes him much better than beauty. He was educated, I believe, at Cambridge, and formerly kept school in this town; but for two or three years back, he has repudiated all regular modes of getting a living, and seems inclined to lead a sort of Indian life among civilized men — an Indian life, I mean, as respects the absence of any systematic effort for a livelihood. ... Mr. Thoreau is a keen and delicate observer of nature — a genuine observer — which, I suspect, is almost as rare a character as even an original poet; and Nature, in return for his love, seems to adopt him as her especial child, and shows him secrets which few others are allowed to witness.
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Nathaniel Hawthorne, in his Journal entry for (1 September 1842)

 

Henry David Thoreau

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As citizens of Cheon Il Guk, please have the wisdom to protect and love nature. Return to nature and enjoy a life of liberation and complete freedom. To love nature is to love God and humanity. When human life resonates with nature, human character can blossom in perfection. The flowers of a true culture of heart, a true artistic world, will bloom. It will be the Garden of Eden, the original ideal where human beings and all creation live in complete harmony and express their original nature.

 

Sun Myung Moon

 

Now, one sees all that by observing, by being aware, watching, one is aware of all this. Then out of that awareness you see there is no division between the observer and the observed. It is a trick of thought which demands security. Please don't madam, please. And by being aware it sees the observer is the observed, that violence is the observer, violence is not different from the observer. Now how is the observer to end himself and not be violent? Have you understood my question so far? I think so. Right? The observer is the observed, there is no division and therefore no conflict. And is the observer then, knowing all the intricacies of naming, linguistically caught in the image of violence, what happens to that violence? If the observer is violent, can the observer end, otherwise violence will go on? Can the observer end himself, because he is violent? Or what reality has theobserver? Right sir? Is he merely put together by words, by experience, by knowledge? So is he put together by the past? So is he the past? Right? Which means the mind is living in the past. Right? obviously. You are living in the past. Right? No? As long as there is an observer there must be living in the past, obviously. And all our life is based on the past, memories, knowledge, images, according to which you react, which is your conditioning, is the past. And living has become the living of the past in the present, modified in the future. That's all, as long as the observer is living. Now does the mind see this as a truth, as a reality, that all my life is living in the past? I may paint most abstract pictures, write the most modern poems, invent the most extraordinary machinery, but I am still living in the past.

 

Jiddu Krishnamurti

 

To few men was it given to realize so completely the element of eternity — of time-effacing enjoyment in work — as it was to John Muir. The secret of it all was in his soul, the soul of a child, of a poet, and of a strong man, all blended into one. ... An innate nobility of character, an unstudied reverence for all that is sublime in nature or in life, unconsciously called forth the best in his friends and acquaintances. In the spiritual as in the physical realm flowers blossomed in his footsteps where he went. After all it is to such men as John Muir that we must look for the sustenance of those finer feelings that keep men in touch with the spiritual meaning and beauty of the universe, and make them capable of understanding those rare souls whose insight has invested life with imperishable hope and charm. ... To all who knew John Muir intimately his gentleness and humaneness toward all creatures that shared the world with him, was one of the finest attributes of his character. ... Among those who have won title to remembrance as prophets and interpreters of nature he rises to a moral as well as poetical altitude that will command the admiring attention of men so long as human records shall endure.

 

John Muir

 

A comic writer should of all others be the least excused for deviating from nature, since it may not be always so easy for a serious poet to meet with the great and the admirable; but life every where furnishes an accurate observer with the ridiculous.

 

Henry Fielding

 

Ruskin's special gift was the feeling for beauty, in nature as in art. It was in Beauty that his nature led him to seek reality, and his entirely religious life received from it an entirely aesthetic use. But this Beauty to which he thus happened to dedicate his life was not conceived by him as an object of enjoyment made to charm, but as a reality infinitely more important than life, for which he would have given his own life. From this, as you will see, the whole aesthetic system of Ruskin follows. First, you will understand that the years when he became acquainted with a new school of architecture or of painting were the principal landmarks in the development of his ethics. He would speak of the years when Gothic art presented itself to him with the same gravity, the same emotional nostalgia, the same serenity with which a Christian speaks of the day the truth was revealed to him.

 

John Ruskin