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Beauty of Nature Essay

Our physical and emotional senses are soothed by the vastness and beauty of nature. Nature's beauty has an infinite, everlasting, and immortal existence. The sunrise and sunset are two of nature's many stunning features. The beauty of nature is a perfect reflection of the art of God. Here are a few sample essays on the beauty of nature:

100 Words Essay on Beauty of Nature

200 words essay on beauty of nature, 500 words essay on beauty of nature.

Beauty of Nature Essay

The most beautiful creation of God that exists all around us is nature, which is seen as being essence of everything. Water, air, plants, and many other things have been given to us by nature so that we can survive on this earth. A person with a sense of beauty will never be able to overlook the splendour of the twinkling stars and the crimson light of the rising sun. The beauty of nature has inspired many artistic people to compose verses of praise, show their creative side with paints and brushes, write beautiful prose and capture the beauty of nature with a camera forever.

Nature is diverse—a treasure that will always exist is the beauty of nature. Many beautiful living things are among the countless riches of beauty that nature has to offer. Millions of different species in every size, colour, and habitat—on land, in the sky, and in the water—abound in the world of birds, animals, reptiles, and fish. They are present all the time and everywhere. They enhance the surroundings by only being there. Because God gave everything on earth a purpose and an order, nature is a special blessing to us.

Nature and Air Pollution

Mother Nature is responsible for our very existence as humans, but we don't seem to recognise this unique truth or show her any respect. Instead we are polluting and ruining our environment. Use of natural resources increases as the population grows. Coal and petroleum are in greater demand due to the growing manufacturing sector, however they pollute the air. The air we breathe has been tainted by smoke released from industries and automobiles. We must plant more trees if we want to lessen the impact of harmful air pollutants such as carbon monoxide, sulphur dioxide, nitrogen dioxide, etc. Mother Nature is constantly being abused by mankind, who don't even consider the repercussions.

Nature has rivers, sparkling valleys, enormous mountains, blue oceans, white skies, the sun, the rain, and the moon, and the list is endless. All of these things are in some way organised and have a function in life. Despite all this, we are still doing activities that are not only harmful but can cause real devastation to nature all around.

Nature and Its Seasons

The beauty of the changing seasons has captivated people's attention for millennia and will do so till the end of time. Unquestionably the queen of the seasons, spring is the most beautiful of them all. The planet is awash in vibrant colours, luxuriant plants, and aromas during this time. Autumn's colours are golden, brown, and mature. A life that started in the spring matures in the fall. A season that aids in ripening is summer. The most delicious fruits and vegetables are only some of its many charms and beauties. Winters in nature are beautiful because of the crisp sky and the snow-capped mountains.

Enjoy Nature

We can all appreciate nature's beauty as we perceive it. You could either go for an early-morning stroll or an evening jog, both of which would put you in close proximity to nature and allow you to take in its beauty. Visit beaches, hill towns, and far-off locales with your friends and family to take in the breathtaking dawn or sunset.

How to Preserve Nature

Conserving our natural resources is really needed so that future generations can appreciate and enjoy them as well. To stop this ongoing process of destruction, we must raise people's awareness. To ensure a nation's progress while not endangering the environment, human activities must be carried out in a sustainable manner. It is crucial to realise that we shouldn't abuse some of god-greatest nature's blessings. Here are a few ways that you can conserve nature,

3 R’s | Reduce your consumption, reuse what you can, and recycle instead of throwing away.

Volunteer | Volunteer for cleanups in your community.

Educate | Help others understand the importance and value of our natural resources.

Conserve water | The less water you use, the less runoff and wastewater that eventually end up in the ocean.

Save Electricity | Switch off lights and fans when you leave the room.

Plant Trees | Trees provide food and oxygen. They help save energy, clean the air, and help combat climate change.

My Trip to a Hill Station

I went to a beautiful hill station in the middle of the summer holidays with my family. The scenic views along the route kept me amused despite the lengthy trip. As we climbed higher, I could see dense trees and foggy mountains. I was also mesmerised by the curving roads, which made me feel as though I had stepped into another realm. I fell in love with nature as soon as we arrived since it had been kept in its natural state, complete with fresh, fragrant flowers of all types, a mild atmosphere, and lush vegetation. As I wandered amidst this beautiful landscape, I realised that all of my troubles had vanished. I felt so refreshed, calm and happy.

Everything we do is dependent on the natural world. We entirely rely on water, air, and fire for our life. The natural resources and the beauty of nature provides a sense of comfort to us.

Explore Career Options (By Industry)

  • Construction
  • Entertainment
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Data Administrator

Database professionals use software to store and organise data such as financial information, and customer shipping records. Individuals who opt for a career as data administrators ensure that data is available for users and secured from unauthorised sales. DB administrators may work in various types of industries. It may involve computer systems design, service firms, insurance companies, banks and hospitals.

Bio Medical Engineer

The field of biomedical engineering opens up a universe of expert chances. An Individual in the biomedical engineering career path work in the field of engineering as well as medicine, in order to find out solutions to common problems of the two fields. The biomedical engineering job opportunities are to collaborate with doctors and researchers to develop medical systems, equipment, or devices that can solve clinical problems. Here we will be discussing jobs after biomedical engineering, how to get a job in biomedical engineering, biomedical engineering scope, and salary. 

Ethical Hacker

A career as ethical hacker involves various challenges and provides lucrative opportunities in the digital era where every giant business and startup owns its cyberspace on the world wide web. Individuals in the ethical hacker career path try to find the vulnerabilities in the cyber system to get its authority. If he or she succeeds in it then he or she gets its illegal authority. Individuals in the ethical hacker career path then steal information or delete the file that could affect the business, functioning, or services of the organization.

Data Analyst

The invention of the database has given fresh breath to the people involved in the data analytics career path. Analysis refers to splitting up a whole into its individual components for individual analysis. Data analysis is a method through which raw data are processed and transformed into information that would be beneficial for user strategic thinking.

Data are collected and examined to respond to questions, evaluate hypotheses or contradict theories. It is a tool for analyzing, transforming, modeling, and arranging data with useful knowledge, to assist in decision-making and methods, encompassing various strategies, and is used in different fields of business, research, and social science.

Water Manager

A career as water manager needs to provide clean water, preventing flood damage, and disposing of sewage and other wastes. He or she also repairs and maintains structures that control the flow of water, such as reservoirs, sea defense walls, and pumping stations. In addition to these, the Manager has other responsibilities related to water resource management.

Geothermal Engineer

Individuals who opt for a career as geothermal engineers are the professionals involved in the processing of geothermal energy. The responsibilities of geothermal engineers may vary depending on the workplace location. Those who work in fields design facilities to process and distribute geothermal energy. They oversee the functioning of machinery used in the field.

Geotechnical engineer

The role of geotechnical engineer starts with reviewing the projects needed to define the required material properties. The work responsibilities are followed by a site investigation of rock, soil, fault distribution and bedrock properties on and below an area of interest. The investigation is aimed to improve the ground engineering design and determine their engineering properties that include how they will interact with, on or in a proposed construction. 

The role of geotechnical engineer in mining includes designing and determining the type of foundations, earthworks, and or pavement subgrades required for the intended man-made structures to be made. Geotechnical engineering jobs are involved in earthen and concrete dam construction projects, working under a range of normal and extreme loading conditions. 

Operations Manager

Individuals in the operations manager jobs are responsible for ensuring the efficiency of each department to acquire its optimal goal. They plan the use of resources and distribution of materials. The operations manager's job description includes managing budgets, negotiating contracts, and performing administrative tasks.

Budget Analyst

Budget analysis, in a nutshell, entails thoroughly analyzing the details of a financial budget. The budget analysis aims to better understand and manage revenue. Budget analysts assist in the achievement of financial targets, the preservation of profitability, and the pursuit of long-term growth for a business. Budget analysts generally have a bachelor's degree in accounting, finance, economics, or a closely related field. Knowledge of Financial Management is of prime importance in this career.

Investment Banker

An Investment Banking career involves the invention and generation of capital for other organizations, governments, and other entities. Individuals who opt for a career as Investment Bankers are the head of a team dedicated to raising capital by issuing bonds. Investment bankers are termed as the experts who have their fingers on the pulse of the current financial and investing climate. Students can pursue various Investment Banker courses, such as Banking and Insurance , and  Economics to opt for an Investment Banking career path.

Product Manager

A Product Manager is a professional responsible for product planning and marketing. He or she manages the product throughout the Product Life Cycle, gathering and prioritising the product. A product manager job description includes defining the product vision and working closely with team members of other departments to deliver winning products.  

Treasury analyst career path is often regarded as certified treasury specialist in some business situations, is a finance expert who specifically manages a company or organisation's long-term and short-term financial targets. Treasurer synonym could be a financial officer, which is one of the reputed positions in the corporate world. In a large company, the corporate treasury jobs hold power over the financial decision-making of the total investment and development strategy of the organisation.


An underwriter is a person who assesses and evaluates the risk of insurance in his or her field like mortgage, loan, health policy, investment, and so on and so forth. The underwriter career path does involve risks as analysing the risks means finding out if there is a way for the insurance underwriter jobs to recover the money from its clients. If the risk turns out to be too much for the company then in the future it is an underwriter who will be held accountable for it. Therefore, one must carry out his or her job with a lot of attention and diligence.

Finance Executive

A career as a Finance Executive requires one to be responsible for monitoring an organisation's income, investments and expenses to create and evaluate financial reports. His or her role involves performing audits, invoices, and budget preparations. He or she manages accounting activities, bank reconciliations, and payable and receivable accounts.  

Welding Engineer

Welding Engineer Job Description: A Welding Engineer work involves managing welding projects and supervising welding teams. He or she is responsible for reviewing welding procedures, processes and documentation. A career as Welding Engineer involves conducting failure analyses and causes on welding issues. 

Transportation Planner

A career as Transportation Planner requires technical application of science and technology in engineering, particularly the concepts, equipment and technologies involved in the production of products and services. In fields like land use, infrastructure review, ecological standards and street design, he or she considers issues of health, environment and performance. A Transportation Planner assigns resources for implementing and designing programmes. He or she is responsible for assessing needs, preparing plans and forecasts and compliance with regulations.

Construction Manager

Individuals who opt for a career as construction managers have a senior-level management role offered in construction firms. Responsibilities in the construction management career path are assigning tasks to workers, inspecting their work, and coordinating with other professionals including architects, subcontractors, and building services engineers.

Environmental Engineer

Individuals who opt for a career as an environmental engineer are construction professionals who utilise the skills and knowledge of biology, soil science, chemistry and the concept of engineering to design and develop projects that serve as solutions to various environmental problems. 

Naval Architect

A Naval Architect is a professional who designs, produces and repairs safe and sea-worthy surfaces or underwater structures. A Naval Architect stays involved in creating and designing ships, ferries, submarines and yachts with implementation of various principles such as gravity, ideal hull form, buoyancy and stability. 

Field Surveyor

Are you searching for a Field Surveyor Job Description? A Field Surveyor is a professional responsible for conducting field surveys for various places or geographical conditions. He or she collects the required data and information as per the instructions given by senior officials. 

Highway Engineer

Highway Engineer Job Description:  A Highway Engineer is a civil engineer who specialises in planning and building thousands of miles of roads that support connectivity and allow transportation across the country. He or she ensures that traffic management schemes are effectively planned concerning economic sustainability and successful implementation.

Conservation Architect

A Conservation Architect is a professional responsible for conserving and restoring buildings or monuments having a historic value. He or she applies techniques to document and stabilise the object’s state without any further damage. A Conservation Architect restores the monuments and heritage buildings to bring them back to their original state.

Orthotist and Prosthetist

Orthotists and Prosthetists are professionals who provide aid to patients with disabilities. They fix them to artificial limbs (prosthetics) and help them to regain stability. There are times when people lose their limbs in an accident. In some other occasions, they are born without a limb or orthopaedic impairment. Orthotists and prosthetists play a crucial role in their lives with fixing them to assistive devices and provide mobility.

Veterinary Doctor

A veterinary doctor is a medical professional with a degree in veterinary science. The veterinary science qualification is the minimum requirement to become a veterinary doctor. There are numerous veterinary science courses offered by various institutes. He or she is employed at zoos to ensure they are provided with good health facilities and medical care to improve their life expectancy.


A career in pathology in India is filled with several responsibilities as it is a medical branch and affects human lives. The demand for pathologists has been increasing over the past few years as people are getting more aware of different diseases. Not only that, but an increase in population and lifestyle changes have also contributed to the increase in a pathologist’s demand. The pathology careers provide an extremely huge number of opportunities and if you want to be a part of the medical field you can consider being a pathologist. If you want to know more about a career in pathology in India then continue reading this article.

Speech Therapist


Gynaecology can be defined as the study of the female body. The job outlook for gynaecology is excellent since there is evergreen demand for one because of their responsibility of dealing with not only women’s health but also fertility and pregnancy issues. Although most women prefer to have a women obstetrician gynaecologist as their doctor, men also explore a career as a gynaecologist and there are ample amounts of male doctors in the field who are gynaecologists and aid women during delivery and childbirth. 

An oncologist is a specialised doctor responsible for providing medical care to patients diagnosed with cancer. He or she uses several therapies to control the cancer and its effect on the human body such as chemotherapy, immunotherapy, radiation therapy and biopsy. An oncologist designs a treatment plan based on a pathology report after diagnosing the type of cancer and where it is spreading inside the body.


The audiologist career involves audiology professionals who are responsible to treat hearing loss and proactively preventing the relevant damage. Individuals who opt for a career as an audiologist use various testing strategies with the aim to determine if someone has a normal sensitivity to sounds or not. After the identification of hearing loss, a hearing doctor is required to determine which sections of the hearing are affected, to what extent they are affected, and where the wound causing the hearing loss is found. As soon as the hearing loss is identified, the patients are provided with recommendations for interventions and rehabilitation such as hearing aids, cochlear implants, and appropriate medical referrals. While audiology is a branch of science that studies and researches hearing, balance, and related disorders.

Cardiothoracic Surgeon

Cardiothoracic surgeons are an important part of the surgical team. They usually work in hospitals, and perform emergency as well as scheduled operations. Some of the cardiothoracic surgeons also work in teaching hospitals working as teachers and guides for medical students aspiring to become a cardiothoracic surgeon. A career as a cardiothoracic surgeon involves treating and managing various types of conditions within their speciality that includes their presence at different locations such as outpatient clinics, team meetings, and ward rounds. 

For an individual who opts for a career as an actor, the primary responsibility is to completely speak to the character he or she is playing and to persuade the crowd that the character is genuine by connecting with them and bringing them into the story. This applies to significant roles and littler parts, as all roles join to make an effective creation. Here in this article, we will discuss how to become an actor in India, actor exams, actor salary in India, and actor jobs. 

Individuals who opt for a career as acrobats create and direct original routines for themselves, in addition to developing interpretations of existing routines. The work of circus acrobats can be seen in a variety of performance settings, including circus, reality shows, sports events like the Olympics, movies and commercials. Individuals who opt for a career as acrobats must be prepared to face rejections and intermittent periods of work. The creativity of acrobats may extend to other aspects of the performance. For example, acrobats in the circus may work with gym trainers, celebrities or collaborate with other professionals to enhance such performance elements as costume and or maybe at the teaching end of the career.

Video Game Designer

Career as a video game designer is filled with excitement as well as responsibilities. A video game designer is someone who is involved in the process of creating a game from day one. He or she is responsible for fulfilling duties like designing the character of the game, the several levels involved, plot, art and similar other elements. Individuals who opt for a career as a video game designer may also write the codes for the game using different programming languages.

Depending on the video game designer job description and experience they may also have to lead a team and do the early testing of the game in order to suggest changes and find loopholes.

Talent Agent

The career as a Talent Agent is filled with responsibilities. A Talent Agent is someone who is involved in the pre-production process of the film. It is a very busy job for a Talent Agent but as and when an individual gains experience and progresses in the career he or she can have people assisting him or her in work. Depending on one’s responsibilities, number of clients and experience he or she may also have to lead a team and work with juniors under him or her in a talent agency. In order to know more about the job of a talent agent continue reading the article.

If you want to know more about talent agent meaning, how to become a Talent Agent, or Talent Agent job description then continue reading this article.

Radio Jockey

Radio Jockey is an exciting, promising career and a great challenge for music lovers. If you are really interested in a career as radio jockey, then it is very important for an RJ to have an automatic, fun, and friendly personality. If you want to get a job done in this field, a strong command of the language and a good voice are always good things. Apart from this, in order to be a good radio jockey, you will also listen to good radio jockeys so that you can understand their style and later make your own by practicing.

A career as radio jockey has a lot to offer to deserving candidates. If you want to know more about a career as radio jockey, and how to become a radio jockey then continue reading the article.


Careers in videography are art that can be defined as a creative and interpretive process that culminates in the authorship of an original work of art rather than a simple recording of a simple event. It would be wrong to portrait it as a subcategory of photography, rather photography is one of the crafts used in videographer jobs in addition to technical skills like organization, management, interpretation, and image-manipulation techniques. Students pursue Visual Media , Film, Television, Digital Video Production to opt for a videographer career path. The visual impacts of a film are driven by the creative decisions taken in videography jobs. Individuals who opt for a career as a videographer are involved in the entire lifecycle of a film and production. 

Multimedia Specialist

A multimedia specialist is a media professional who creates, audio, videos, graphic image files, computer animations for multimedia applications. He or she is responsible for planning, producing, and maintaining websites and applications. 

An individual who is pursuing a career as a producer is responsible for managing the business aspects of production. They are involved in each aspect of production from its inception to deception. Famous movie producers review the script, recommend changes and visualise the story. 

They are responsible for overseeing the finance involved in the project and distributing the film for broadcasting on various platforms. A career as a producer is quite fulfilling as well as exhaustive in terms of playing different roles in order for a production to be successful. Famous movie producers are responsible for hiring creative and technical personnel on contract basis.

Copy Writer

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Essay on Beauty of Nature for Children and Students

May 18, 2020 by Study Mentor 5 Comments

Table of Contents

Beauty of Nature -ESSAY 1


What is the first thing that comes to mind when you think about the beauty of nature? Greenery, Right? But the beauty of nature is more than the greenery. Everything you feel and see around, including Mountains, Forests, Rivers, Birds, Plants, Animals, Air, etc. – all are a part of the beauty of nature.

Nature is the lifeblood of all living creatures in the world. Nature provides us with everything (like Food, Water, Shelter, etc.), which we need to sustain and survive in the long run.

We, humans, are also a part of nature, but we tend to distinguish ourselves from nature and do the things, which may harm the nature.

Respect nature and its resources, show some compassion towards it. It is the responsibility of a human being to protect nature. We, as humans, should refrain from doing any harm to nature if we need to provide a good natural environment to the future generations.  

To sum it up, in a nutshell, the below quote from Charles Darwin defines it well.  

“Everything, what is against nature, will not last for long.” – Charles Darwin

Significance of Nature

The significance of nature cannot be overemphasized because the things nature provides to us are not replaceable by modern technology in any way. 

For example, let us compare the effects of natural food and the food we eat in a modern lifestyle. The food we eat today (not all the food we eat is bad, but most of it anyway like junk and oil foods) is causing various serious health issues like obesity, heart diseases, etc. On the other hand, eating natural foods like fruits, vegetables, whole grains, etc. are scientifically proven health and can help you to live a long and beautiful life.

Each and everything in nature, including living or non-living organisms, play an important role in maintaining the balance to create a viable environment for all of us, which is called ecological balance. We need to make sure that the ecological balance should be maintained at all times to avoid a catastrophic situation in the future. 

Types of Natural Resources:

Natural resources can be classified into two types namely

  • Renewable resources
  • Non-Renewable resources

1. Renewable Resources:

Renewable Resources are the resources which are constantly available or easily replaced or reproduced.

For example, land, water are easily available.  Vegetables and fruits can be easily produced. 

Renewable Sources are of two types 

  • Organic Renewable Resources: Which comes from living things like plants and animals.
  • In-Organic Renewable Resources: Which comes from non-living things like water, light, wind, etc

2. Non-Renewable Resources

Non-renewable resources are the resources that cannot be available after they are depleted. They are limited in terms of availability.

Some examples include fossil fuels and minerals.

Conservation of nature

There are plenty of natural resources that are available on earth, and we should use them in an optimum manner. If we start to exploit and deplete the resources available, then the resources might become scarce.

So we must conserve nature and its resources in such a manner that the future generations can be benefited from them. Conservation of natural resources should also be done for environmental protection. 

One of the several reasons for the depletion of resources is an increase in the human population. Taking precautionary measures to control the population is essential for nature to retain its essence. Before we learn about how to conserve nature, let’s understand what is the conservation of nature.

How to Conserve Nature?

Nature can be conserved in many ways. Here are some ways how we can conserve nature.

1. Awareness

Creating awareness among people through programs and campaigns is one of the best methods to conserve nature.

If everyone is aware of the effects of non-conservation of nature, then it will help to understand the importance of conservation.

2. Protection of trees

Deforestation is one of the biggest reasons for global warming. Cutting down trees increases the CO2 and other greenhouse gases, thus contributing to the rise of temperature, which is not suitable for living conditions.

Restricting the usage of paper and adopting the latest technological advancements like writing and reading in the digital platforms can be an advantage to nature. Everyone can contribute to the environment by adopting their needs to digital platforms instead of using paper.

Planting more trees all around us can help to fight global warming.

3. Protecting the Ocean Life

 Life on earth contains not only humans or animals but also many creatures in ocean-like fishes, whales, etc. The ecological balance might be disturbed if we neglect the sea and its creatures.

Some companies and industries are dumping their toxic and waste materials in the sea. An initiative towards protecting sea life is mandatory in the current scenario.

4. Pollution Control:

In the day to day activities of our life, we are creating pollution even without knowing in many ways – air, water, land, etc.

Opting for pollution-free alternatives like an electric car and government intervention is a necessary step to curb pollution and increase the quality of life.  

5. Reduce, Re-Use, or Recycle:

Reduce: Do not use or buy unnecessary things. Reduce wastage.

Re-use: Re-use the things instead of throwing them away whenever possible.

Recycle: Recycling things like plastic and other non-degradable items can reduce the burden on the environment.  


We all should understand the beauty of nature is of utmost importance if we will harm the beauty of nature, then it will imbalance the life cycle. We should understand that we are building by nature, and it is our sole responsibility to protect the beauty of nature. 

Humans can change or transform their behavior over time. Nature gives us plenty of opportunities to change our behavior of negative actions against it. We need to use those opportunities to use the resources efficiently and not to harm nature in any way possible. 

Nature is the only source for all living organisms. We need to follow the flow of nature whenever possible (Go with the flow) and conserve nature.

Beauty of Nature -ESSAY 2

Nature is a god gift to this world .Its beauty is not only seen, hear or smell by us, it’s a feeling that can’t be erased. No man made beauty replaces the natural beauty.

Nature give us many valuable and important things which are useful as well as healthy for us but the point is how we are using it ,not harming it .

Since the formation of earth there are many magical things happen on earth and the other planet become a part of it, we should be thankful that we get this beauty called nature.

Nature and its Beauty

Beauty of Nature essay

Every early morning is with a beautiful sunrise with some small drop on plants and glass windows (specially in winters) , a beautiful sunset nearby oceans, seas, beautiful night with twinkling stars , a beautiful clear blue sky and how can I forget about rainbows .

These beautiful things belong to nature. We all eagerly wait for our vacation or holidays so that we can visit different places like mountains, beaches, etc. with our loved ones.

Mountains that we like to climb or do trekking with our friends and family, snowfall is a major love though,the water falling on the ground from heights and that cold or warm water touches or soul in totally different way .

Lets spend some time with our nature, and not just spending time is a benefit, let’s do something for nature. Let’s grow more trees, let’s make it happen, do something for nature.

Earth is the only planet which gets a great gift from nature, let’s protect it, make life more meaningful here, let’s invest some time on nature to make it more beautiful it will definitely give us more benefits in the future.

Scientific Call for Our Nature

We all someday thought that ‘how nature is created’? ‘how it is so much beautiful’? The answer is science.

Science knows everything except god. Science has all the answers why sky is blue? , why stars twinkle? , why sun is reddish orange during sunrise and sunset and all answers are so logical and meaningful.

Science knows everything about nature but on the other side it is using nature in its own way knowing the fact that it is harmful for our nature.

Harmful Effects of Science on Our Nature

Industrial pollution , garbage, cutting of trees ( deforestation ) to make homes and industry, harsh use of chemicals, water pollution etc.  They all harm our nature and yes if nature gets harm it will have some side-effects which results in some infections and diseases. Example: In June 2013 a flood attacks on Uttarakhand (Kedarnath) destroyed whole area of Uttarakhand.

In today’s life we all are ignoring our nature by using scientific devices, using chemical bound products; eat food which is full of chemicals or harmful elements. Here we our doing two wrong things firstly Harming our Nature in every possible way.

Secondly harming our self by making wrong use of science. Science is for study and for some useful things not for destroying it.

Every day we got the news that scientist are  working on moon to grow potatoes or they are going to search life there because there’s no life on earth soon due to these harmful things and the major part is we know that our earth, our nature is in danger so we have to work on earth to protect it . We have to protect our nature as soon as possible.

Ways to Protect the Nature

To protect the nature we should do the following things:

  • Stop deforestation
  • Minimize or neglect the use of CFC’s
  • Don’t burn crackers on Diwali
  • Don’t waste water (save as much as you can)
  • Minimise industrial work
  • The 3 R’s : Reuse, Recycle, Reduce
  • Use of jute or paper bags instead of using polythene
  • Plant more and more trees
  • Use public transport
  • Send used plastics for recycling or disposal
  • Avoid using fossil fuels
  • Appreciate the nature

Enjoy Nature in Your Own Way

Protection of nature is one way and enjoying it is another. Go for holidays and vacation. Enjoy the first snowfall of winter months, enjoy the first rainfall of rainy season, enjoy sunrise and sunsets once in lifetime, enjoy the winter winds, enjoy the rainbow after rainfall.

These are the easiest ways to enjoy nature. Every work is important but enjoying life with this nature is more amazing and necessary. Once every year go with your family, friends, to enjoy nature and its beauty. Make a meaningful life with nature and protect it too. Sit in the moonlight with your beloved one to make it memorable for a lifetime .

See the beauty of moon how every week it changes its shape and when the day is with full moon watch that scars on the moon but it still shines, there’s no beauty like moon which has gone through many phases but still shines one day and on that day nothing is beautiful than moon. ANIMALS – Big part of our nature, love them and don’t harm them for your use .

Reader Interactions

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June 30, 2019 at 4:33 pm

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January 15, 2020 at 8:02 pm

I thought how beautiful is nature ,by reading this essay

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February 28, 2020 at 8:57 pm

I liked this essay 👌

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May 14, 2020 at 4:18 pm

well written and very useful essay it is

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May 24, 2020 at 8:55 pm

It is heart touching eassy 😀😀

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Have you Burn Crackers this Diwali ? Yes No

Beauty of Nature Essay

It is hard for one to witness the beauty of nature and not fall for it. Whether we listen to the mesmerising sounds of birds in the morning or love to watch the brilliant sunset in the evening, there is something beautiful about nature that fills us with joy. We are extremely lucky beings that we get to enjoy the beauty of nature every day. Let us discuss the different things that nature provides us through this short essay on beauty of nature.

When we describe the beauty of nature, several aspects like trees, plants, animals, water, hills and weather come into play. Through essay writing on beauty of nature, your kids will be able to express what they admire about nature clearly. Moreover, this essay will reveal how kids pay close attention to things that we hardly notice or care about.

Beauty of Nature Essay

Experience with the Beauty of Nature

During the mid-summer season, I went to a beautiful hill station with my family. Even though the ride was long, the beautiful scenery on the way kept me entertained. I could see deep forests and misty mountains as we went higher and higher. The winding roads also fascinated me, and I felt as if I had entered a different world. Upon our arrival at the place, I immediately fell in love with nature as it was preserved as such with fresh fragrant flowers of different kinds, cool weather and lush greenery. I found all my worries melting away as I walked amidst this wonderful nature.

Nature offers limitless happiness and satisfaction to us. As a nature enthusiast, one would find joy in the calm breeze, flowing streams or dancing flowers. From the little pebbles to sturdy rocks, everything is part of nature, which adds charm to it. Even nature creates music through the running rivers, twittering birds and gentle winds. When the sun sets and the moon takes its place, the whole sky is lit, and there is nothing more dreamlike than sleeping under the starry sky.

The seasons change, and each has its distinct beauty that cannot be matched. While spring brings in the best of nature through its vibrant greenery, winter calls for a misty and foggy beauty of nature. Autumn covers nature with a golden carpet of leaves and flowers, and summer witnesses the brightest days with delicious fruits. Besides, there are many living creatures, like birds, insects, fish, etc., in varying shape, size and colour that makes nature lively. A single peek through the window of your house would help you understand the true beauty of nature, which will surely lighten your mood.

Moral of the Essay

Each one of us will have a unique feeling when we look at nature. You can know what your child likes about nature through this essay writing on beauty of nature. We can see, feel and hear the glamour of nature in every step that we take and the air we breathe. This short essay on beauty of nature would inspire your kids to look around and take delight in its different forms so that they will be energised and enthusiastic.

How to enjoy the beauty of nature?

All of us can enjoy the beauty of nature in the ways we see it. You could either go for an early morning walk or jog in the evening, where you could be close to nature, thus imbibing its beauty. Travel with your friends and family to hill stations, beaches and exotic places, and enjoy the beautiful sunrise or sunset.

What are the factors that affect the beauty of nature?

Although nature maintains its beauty, human exploitation has caused serious threats to nature. The excessive cutting down of trees for industry and home purposes and the pollution of water, air and land through the dumping of waste from factories are the main factors that threaten the beauty of nature.

How to preserve the beauty of nature?

Nature is an invaluable gift given to us, and we must not involve in any activity that would diminish its beauty. By planting more trees, avoiding the use of plastic, and reusing and recycling things, we can maintain the beauty of nature as it is.

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English Compositions

Short Essay on the Beauty of Nature [100, 200, 400 Words] With PDF

In this session, you will learn how actually you can write short essays on The beauty of Nature. There will be three individual sets of essays covering different word limits. 

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Short Essay on the Beauty of Nature in 100 Words

Nature is a gift of God towards all living creatures on the earth. There is no one who is not daily helped by the goods of nature. Nature is significant to the development of life. As human beings, we realize how important a single plant is for our survival.

The beauty of nature includes plants, animals, insects, and other aspects like the mountains, hills, plains, rivers, the sky, which are all components of this beautiful nature. Nature is like a well-made garden with lots of flowers and fruit trees. It is our protective shield from all-natural calamities. It gives us the support to survive healthily on the earth. Nature is the source of our personal beauty and strength as well.

Short Essay on the Beauty of Nature in 200 Words

God while creating the earth has given his best. And among several things, nature is his most beautiful creation. Nature is a part of heaven. The beauty of a single tree is worth much more than any commodity. We are always told to preserve nature because nature is the elixir of our life.

Every life on the earth is supported by the nature around us. This nature includes trees, animals, insects, humans, and even the geography we inhabit. The mountains, hills, plains, plateaus, rivers, springs, waterfall, deserts- all are the components of this wide nature. We cannot overpower nature. It has its own strength to control the atmosphere.

Nature is almost like a caring mother who feeds her children. It gives birth to lives and also maintains them peacefully. Nature protects us like an umbrella. It does not allow any storm or flood or drought to affect us. Nature’s beauty lies in the fact that she changes according to whether to support the earth.

According to every change she has her collection of food to feed all living creatures. It is our duty hence to maintain her beauty. The beauty of nature is a component of nature. We must not chop trees or hurt any animal, as it results in harming ourselves. Nature is a treasure and our biggest responsibility is to care for it.

Short Essay on the Beauty of Nature in 400 Words

Nature has been the source of our delight. It is the reason for our life and sustenance. The earth is beautiful because of nature. It is a creation of the god himself. Hence, it is all beauty. In the Holy Bible, we see the beautiful Garden of Eden as an example of natural bliss.

It is a garden, filled with fruits, flowers, trees, animals, and human beings. In fact, Eden shows us what the ideal nature looks like. It is about humans staying together in harmony with animals and plants. No one is harming the other. Nature provides us with this peace and happiness. This is the actual beauty of nature.

Wordsworth in his poem ‘The Daffodils’ gives importance to nature. He tells how nature soothes our pains and anxiety. When we are tired of our mundane life, we try to find help in nature. We take long walks down an empty road or even enjoy the cool breeze standing at the terrace. The first dewdrop of the morning is a wonderful beauty. Nature shows how even simple things can be wonderful. We do not need to travel to many countries to enjoy happiness. Nature gives us that richness and pleasure quite easily. 

Nature is the biggest blessing in our lives. It is precious to us. We cannot survive if nature is taken away from us. Nature is the source of our food. Our daily diet includes several components from nature, be it vegetables, fruits, or milk. Destroying nature is letting ourselves die, all hungry. Nature is also our protection. It saves us like a shield.

Whenever we face any natural calamity, it immediately rescues us. Every storm, flood, and drought is reduced by nature. Nature feels more like a mother to us. A mother cares for her child and knows him the best. So does nature. Natural beauty lives in the geography we live in. The first sun rays, the chirping of the birds, the blooming seasons, the wind and rainfall, everything delights us equally. We cannot think of living without this peace. Nature thus is the house of serenity and calmness.

As rational human beings, it is our foremost duty to take care of natural beings. Every citizen must pledge to plant a tree and provide shelter to animals. Ther should complete restriction to any hunting of animals. Even in zoos, animals must be well kept. Nature is the balance of the ecosystem. If nature is harmed, then the stability of the ecosystem will be completely destroyed. So natural beauty depends on the care we give to it. If we love it like our own mother, then it will remain forever beautiful.

I have written these sample essays in a very simple language for a better understanding of all kinds of students. If you still have any doubts regarding this session, kindly let me know in the comment section below. To read more such essays on various important topics, keep browsing our website.

Thank you. 

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Mind & Body Articles & More

How nature can make you kinder, happier, and more creative, we are spending more time indoors and online. but recent studies suggest that nature can help our brains and bodies to stay healthy..

I’ve been an avid hiker my whole life. From the time I first strapped on a backpack and headed into the Sierra Nevada Mountains, I was hooked on the experience, loving the way being in nature cleared my mind and helped me to feel more grounded and peaceful.

But, even though I’ve always believed that hiking in nature had many psychological benefits, I’ve never had much science to back me up…until now, that is. Scientists are beginning to find evidence that being in nature has a profound impact on our brains and our behavior, helping us to reduce anxiety, brooding, and stress, and increase our attention capacity, creativity, and our ability to connect with other people.

“People have been discussing their profound experiences in nature for the last several 100 years—from Thoreau to John Muir to many other writers,” says researcher David Strayer, of the University of Utah. “Now we are seeing changes in the brain and changes in the body that suggest we are physically and mentally more healthy when we are interacting with nature.”

essay about the beauty of nature

While he and other scientists may believe nature benefits our well-being, we live in a society where people spend more and more time indoors and online—especially children. Findings on how nature improves our brains brings added legitimacy to the call for preserving natural spaces—both urban and wild—and for spending more time in nature in order to lead healthier, happier, and more creative lives.

Here are some of the ways that science is showing how being in nature affects our brains and bodies.

mountain walk

1. Being in nature decreases stress

It’s clear that hiking—and any physical activity—can reduce stress and anxiety. But, there’s something about being in nature that may augment those impacts.

In one recent experiment conducted in Japan, participants were assigned to walk either in a forest or in an urban center (taking walks of equal length and difficulty) while having their heart rate variability, heart rate, and blood pressure measured. The participants also filled out questionnaires about their moods, stress levels, and other psychological measures.

Results showed that those who walked in forests had significantly lower heart rates and higher heart rate variability (indicating more relaxation and less stress), and reported better moods and less anxiety, than those who walked in urban settings. The researchers concluded that there’s something about being in nature that had a beneficial effect on stress reduction, above and beyond what exercise alone might have produced.

In another study , researchers in Finland found that urban dwellers who strolled for as little as 20 minutes through an urban park or woodland reported significantly more stress relief than those who strolled in a city center.

The reasons for this effect are unclear; but scientists believe that we evolved to be more relaxed in natural spaces. In a now-classic laboratory experiment by Roger Ulrich of Texas A&M University and colleagues, participants who first viewed a stress-inducing movie, and were then exposed to color/sound videotapes depicting natural scenes, showed much quicker, more complete recovery from stress than those who’d been exposed to videos of urban settings.

These studies and others provide evidence that being in natural spaces— or even just looking out of a window onto a natural scene—somehow soothes us and relieves stress.


2. Nature makes you happier and less brooding

I’ve always found that hiking in nature makes me feel happier, and of course decreased stress may be a big part of the reason why. But, Gregory Bratman, of Stanford University, has found evidence that nature may impact our mood in other ways, too.

In one 2015 study , he and his colleagues randomly assigned 60 participants to a 50-minute walk in either a natural setting (oak woodlands) or an urban setting (along a four-lane road). Before and after the walk, the participants were assessed on their emotional state and on cognitive measures, such as how well they could perform tasks requiring short-term memory. Results showed that those who walked in nature experienced less anxiety, rumination (focused attention on negative aspects of oneself), and negative affect, as well as more positive emotions, in comparison to the urban walkers. They also improved their performance on the memory tasks.

In another study, he and his colleagues extended these findings by zeroing in on how walking in nature affects rumination—which has been associated with the onset of depression and anxiety—while also using fMRI technology to look at brain activity. Participants who took a 90-minute walk in either a natural setting or an urban setting had their brains scanned before and after their walks and were surveyed on self-reported rumination levels (as well as other psychological markers). The researchers controlled for many potential factors that might influence rumination or brain activity—for example, physical exertion levels as measured by heart rates and pulmonary functions.

Even so, participants who walked in a natural setting versus an urban setting reported decreased rumination after the walk, and they showed increased activity in the subgenual prefrontal cortex, an area of the brain whose deactivation is affiliated with depression and anxiety—a finding that suggests nature may have important impacts on mood.

Bratman believes results like these need to reach city planners and others whose policies impact our natural spaces. “Ecosystem services are being incorporated into decision making at all levels of public policy, land use planning, and urban design, and it’s very important to be sure to incorporate empirical findings from psychology into these decisions,” he says.


3. Nature relieves attention fatigue and increases creativity.

Today, we live with ubiquitous technology designed to constantly pull for our attention. But many scientists believe our brains were not made for this kind of information bombardment, and that it can lead to mental fatigue, overwhelm, and burnout, requiring “attention restoration” to get back to a normal, healthy state.

Strayer is one of those researchers. He believes that being in nature restores depleted attention circuits, which can then help us be more open to creativity and problem-solving.

“When you use your cell phone to talk, text, shoot photos, or whatever else you can do with your cell phone, you’re tapping the prefrontal cortex and causing reductions in cognitive resources,” he says.

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In a 2012 study , he and his colleagues showed that hikers on a four-day backpacking trip could solve significantly more puzzles requiring creativity when compared to a control group of people waiting to take the same hike—in fact, 47 percent more. Although other factors may account for his results—for example, the exercise or the camaraderie of being out together—prior studies have suggested that nature itself may play an important role. One in Psychological Science found that the impact of nature on attention restoration is what accounted for improved scores on cognitive tests for the study participants.

This phenomenon may be due to differences in brain activation when viewing natural scenes versus more built-up scenes—even for those who normally live in an urban environment. In a recent study conducted by Peter Aspinall at Heriot-Watt University, Edinburgh, and colleagues, participants who had their brains monitored continuously using mobile electroencephalogram (EEG) while they walked through an urban green space had brain EEG readings indicating lower frustration, engagement, and arousal, and higher meditation levels while in the green area, and higher engagement levels when moving out of the green area. This lower engagement and arousal may be what allows for attention restoration, encouraging a more open, meditative mindset.

It’s this kind of brain activity—sometimes referred to as “the brain default network”—that is tied to creative thinking , says Strayer. He is currently repeating his earlier 2012 study with a new group of hikers and recording their EEG activity and salivary cortisol levels before, during, and after a three-day hike. Early analyses of EEG readings support the theory that hiking in nature seems to rest people’s attention networks and to engage their default networks.

Strayer and colleagues are also specifically looking at the effects of technology by monitoring people’s EEG readings while they walk in an arboretum, either while talking on their cell phone or not. So far, they’ve found that participants with cell phones appear to have EEG readings consistent with attention overload, and can recall only half as many details of the arboretum they just passed through, compared to those who were not on a cell phone.

Though Strayer’s findings are preliminary, they are consistent with other people’s findings on the importance of nature to attention restoration and creativity.

“If you’ve been using your brain to multitask—as most of us do most of the day—and then you set that aside and go on a walk, without all of the gadgets, you’ve let the prefrontal cortex recover,” says Strayer. “And that’s when we see these bursts in creativity, problem-solving, and feelings of well-being.”

family hike

4. Nature may help you to be kind and generous

Whenever I go to places like Yosemite or the Big Sur Coast of California, I seem to return to my home life ready to be more kind and generous to those around me—just ask my husband and kids! Now some new studies may shed light on why that is.

In a series of experiments published in 2014, Juyoung Lee, GGSC director Dacher Keltner, and other researchers at the University of California, Berkeley, studied the potential impact of nature on the willingness to be generous, trusting, and helpful toward others, while considering what factors might influence that relationship.

As part of their study, the researchers exposed participants to more or less subjectively beautiful nature scenes (whose beauty levels were rated independently) and then observed how participants behaved playing two economics games—the Dictator Game and the Trust Game—that measure generosity and trust, respectively. After being exposed to the more beautiful nature scenes, participants acted more generously and more trusting in the games than those who saw less beautiful scenes, and the effects appeared to be due to corresponding increases in positive emotion.

In another part of the study, the researchers asked people to fill out a survey about their emotions while sitting at a table where more or less beautiful plants were placed. Afterwards, the participants were told that the experiment was over and they could leave, but that if they wanted to they could volunteer to make paper cranes for a relief effort program in Japan. The number of cranes they made (or didn’t make) was used as a measure of their “prosociality” or willingness to help.

Results showed that the presence of more beautiful plants significantly increased the number of cranes made by participants, and that this increase was, again, mediated by positive emotion elicited by natural beauty. The researchers concluded that experiencing the beauty of nature increases positive emotion—perhaps by inspiring awe, a feeling akin to wonder, with the sense of being part of something bigger than oneself—which then leads to prosocial behaviors.

Support for this theory comes from an experiment conducted by Paul Piff of the University of California, Irvine, and colleagues, in which participants staring up a grove of very tall trees for as little as one minute experienced measurable increases in awe, and demonstrated more helpful behavior and approached moral dilemmas more ethically, than participants who spent the same amount of time looking up at a high building.


5. Nature makes you “feel more alive”

With all of these benefits to being out in nature, it’s probably no surprise that something about nature makes us feel more alive and vital . Being outdoors gives us energy, makes us happier, helps us to relieve the everyday stresses of our overscheduled lives, opens the door to creativity, and helps us to be kind to others.

No one knows if there is an ideal amount of nature exposure, though Strayer says that longtime backpackers suggest a minimum of three days to really unplug from our everyday lives. Nor can anyone say for sure how nature compares to other forms of stress relief or attention restoration, such as sleep or meditation. Both Strayer and Bratman say we need a lot more careful research to tease out these effects before we come to any definitive conclusions.

Still, the research does suggest there’s something about nature that keeps us psychologically healthy, and that’s good to know…especially since nature is a resource that’s free and that many of us can access by just walking outside our door. Results like these should encourage us as a society to consider more carefully how we preserve our wilderness spaces and our urban parks.

And while the research may not be conclusive, Strayer is optimistic that science will eventually catch up to what people like me have intuited all along—that there’s something about nature that renews us, allowing us to feel better, to think better, and to deepen our understanding of ourselves and others.

“You can’t have centuries of people writing about this and not have something going on,” says Strayer. “If you are constantly on a device or in front of a screen, you’re missing out on something that’s pretty spectacular: the real world.”

About the Author


Jill Suttie

Jill Suttie, Psy.D. , is Greater Good ’s former book review editor and now serves as a staff writer and contributing editor for the magazine. She received her doctorate of psychology from the University of San Francisco in 1998 and was a psychologist in private practice before coming to Greater Good .

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Ralph Waldo Emerson

From Nature , published as part of Nature; Addresses and Lectures

This love of beauty is Taste. The creation of beauty is Art.

A nobler want of man is served by nature, namely, the love of Beauty.

The ancient Greeks called the world {kosmos}, beauty. Such is the constitution of all things, or such the plastic power of the human eye, that the primary forms, as the sky, the mountain, the tree, the animal, give us a delight in and for themselves ; a pleasure arising from outline, color, motion, and grouping. This seems partly owing to the eye itself. The eye is the best of artists. By the mutual action of its structure and of the laws of light, perspective is produced, which integrates every mass of objects, of what character soever, into a well colored and shaded globe, so that where the particular objects are mean and unaffecting, the landscape which they compose, is round and symmetrical. And as the eye is the best composer, so light is the first of painters. There is no object so foul that intense light will not make beautiful. And the stimulus it affords to the sense, and a sort of infinitude which it hath, like space and time, make all matter gay. Even the corpse has its own beauty. But besides this general grace diffused over nature, almost all the individual forms are agreeable to the eye, as is proved by our endless imitations of some of them, as the acorn, the grape, the pine-cone, the wheat-ear, the egg, the wings and forms of most birds, the lion's claw, the serpent, the butterfly, sea-shells, flames, clouds, buds, leaves, and the forms of many trees, as the palm.

For better consideration, we may distribute the aspects of Beauty in a threefold manner.

1. First, the simple perception of natural forms is a delight. The influence of the forms and actions in nature, is so needful to man, that, in its lowest functions, it seems to lie on the confines of commodity and beauty. To the body and mind which have been cramped by noxious work or company, nature is medicinal and restores their tone. The tradesman, the attorney comes out of the din and craft of the street, and sees the sky and the woods, and is a man again. In their eternal calm, he finds himself. The health of the eye seems to demand a horizon. We are never tired, so long as we can see far enough.

But in other hours, Nature satisfies by its loveliness, and without any mixture of corporeal benefit. I see the spectacle of morning from the hill-top over against my house, from day-break to sun-rise, with emotions which an angel might share. The long slender bars of cloud float like fishes in the sea of crimson light. From the earth, as a shore, I look out into that silent sea. I seem to partake its rapid transformations: the active enchantment reaches my dust, and I dilate and conspire with the morning wind. How does Nature deify us with a few and cheap elements! Give me health and a day, and I will make the pomp of emperors ridiculous. The dawn is my Assyria; the sun-set and moon-rise my Paphos, and unimaginable realms of faerie; broad noon shall be my England of the senses and the understanding; the night shall be my Germany of mystic philosophy and dreams.

Not less excellent, except for our less susceptibility in the afternoon, was the charm, last evening, of a January sunset. The western clouds divided and subdivided themselves into pink flakes modulated with tints of unspeakable softness; and the air had so much life and sweetness, that it was a pain to come within doors. What was it that nature would say? Was there no meaning in the live repose of the valley behind the mill, and which Homer or Shakespeare could not reform for me in words? The leafless trees become spires of flame in the sunset, with the blue east for their back-ground, and the stars of the dead calices of flowers, and every withered stem and stubble rimed with frost, contribute something to the mute music.

Never lose an opportunity of seeing anything beautiful, for beauty is God’s handwriting.

The inhabitants of cities suppose that the country landscape is pleasant only half the year. I please myself with the graces of the winter scenery, and believe that we are as much touched by it as by the genial influences of summer. To the attentive eye, each moment of the year has its own beauty, and in the same field, it beholds, every hour, a picture which was never seen before, and which shall never be seen again. The heavens change every moment, and reflect their glory or gloom on the plains beneath. The state of the crop in the surrounding farms alters the expression of the earth from week to week. The succession of native plants in the pastures and roadsides, which makes the silent clock by which time tells the summer hours, will make even the divisions of the day sensible to a keen observer. The tribes of birds and insects, like the plants punctual to their time, follow each other, and the year has room for all. By water-courses, the variety is greater. In July, the blue pontederia or pickerel-weed blooms in large beds in the shallow parts of our pleasant river, and swarms with yellow butterflies in continual motion. Art cannot rival this pomp of purple and gold. Indeed the river is a perpetual gala, and boasts each month a new ornament.

But this beauty of Nature which is seen and felt as beauty, is the least part. The shows of day, the dewy morning, the rainbow, mountains, orchards in blossom, stars, moonlight, shadows in still water, and the like, if too eagerly hunted, become shows merely, and mock us with their unreality. Go out of the house to see the moon, and 't is mere tinsel; it will not please as when its light shines upon your necessary journey. The beauty that shimmers in the yellow afternoons of October, who ever could clutch it? Go forth to find it, and it is gone: 't is only a mirage as you look from the windows of diligence.

2. The presence of a higher, namely, of the spiritual element is essential to its perfection. The high and divine beauty which can be loved without effeminacy, is that which is found in combination with the human will. Beauty is the mark God sets upon virtue. Every natural action is graceful. Every heroic act is also decent, and causes the place and the bystanders to shine. We are taught by great actions that the universe is the property of every individual in it. Every rational creature has all nature for his dowry and estate. It is his, if he will. He may divest himself of it; he may creep into a corner, and abdicate his kingdom, as most men do, but he is entitled to the world by his constitution. In proportion to the energy of his thought and will, he takes up the world into himself. "All those things for which men plough, build, or sail, obey virtue;" said Sallust. "The winds and waves," said Gibbon, "are always on the side of the ablest navigators." So are the sun and moon and all the stars of heaven. When a noble act is done, — perchance in a scene of great natural beauty; when Leonidas and his three hundred martyrs consume one day in dying, and the sun and moon come each and look at them once in the steep defile of Thermopylae; when Arnold Winkelried, in the high Alps, under the shadow of the avalanche, gathers in his side a sheaf of Austrian spears to break the line for his comrades; are not these heroes entitled to add the beauty of the scene to the beauty of the deed? When the bark of Columbus nears the shore of America; — before it, the beach lined with savages, fleeing out of all their huts of cane; the sea behind; and the purple mountains of the Indian Archipelago around, can we separate the man from the living picture? Does not the New World clothe his form with her palm-groves and savannahs as fit drapery? Ever does natural beauty steal in like air, and envelope great actions. When Sir Harry Vane was dragged up the Tower-hill, sitting on a sled, to suffer death, as the champion of the English laws, one of the multitude cried out to him, "You never sate on so glorious a seat." Charles II., to intimidate the citizens of London, caused the patriot Lord Russel to be drawn in an open coach, through the principal streets of the city, on his way to the scaffold. "But," his biographer says, "the multitude imagined they saw liberty and virtue sitting by his side." In private places, among sordid objects, an act of truth or heroism seems at once to draw to itself the sky as its temple, the sun as its candle. Nature stretcheth out her arms to embrace man, only let his thoughts be of equal greatness. Willingly does she follow his steps with the rose and the violet, and bend her lines of grandeur and grace to the decoration of her darling child. Only let his thoughts be of equal scope, and the frame will suit the picture. A virtuous man is in unison with her works, and makes the central figure of the visible sphere. Homer, Pindar, Socrates, Phocion, associate themselves fitly in our memory with the geography and climate of Greece. The visible heavens and earth sympathize with Jesus. And in common life, whosoever has seen a person of powerful character and happy genius, will have remarked how easily he took all things along with him, — the persons, the opinions, and the day, and nature became ancillary to a man.

Words are finite organs

3. There is still another aspect under which the beauty of the world may be viewed, namely, as it become s an object of the intellect. Beside the relation of things to virtue, they have a relation to thought. The intellect searches out the absolute order of things as they stand in the mind of God, and without the colors of affection. The intellectual and the active powers seem to succeed each other, and the exclusive activity of the one, generates the exclusive activity of the other. There is something unfriendly in each to the other, but they are like the alternate periods of feeding and working in animals; each prepares and will be followed by the other. Therefore does beauty, which, in relation to actions, as we have seen, comes unsought, and comes because it is unsought, remain for the apprehension and pursuit of the intellect; and then again, in its turn, of the active power. Nothing divine dies. All good is eternally reproductive. The beauty of nature reforms itself in the mind, and not for barren contemplation, but for new creation.

All men are in some degree impressed by the face of the world; some men even to delight. This love of beauty is Taste. Others have the same love in such excess, that, not content with admiring, they seek to embody it in new forms. The creation of beauty is Art.

The production of a work of art throws a light upon the mystery of humanity. A work of art is an abstract or epitome of the world. It is the result or expression of nature, in miniature. For, although the works of nature are innumerable and all different, the result or the expression of them all is similar and single. Nature is a sea of forms radically alike and even unique. A leaf, a sun-beam, a landscape, the ocean, make an analogous impression on the mind. What is common to them all, — that perfectness and harmony, is beauty. The standard of beauty is the entire circuit of natural forms, — the totality of nature; which the Italians expressed by defining beauty "il piu nell' uno." Nothing is quite beautiful alone: nothing but is beautiful in the whole. A single object is only so far beautiful as it suggests this universal grace. The poet, the painter, the sculptor, the musician, the architect, seek each to concentrate this radiance of the world on one point, and each in his several work to satisfy the love of beauty which stimulates him to produce. Thus is Art, a nature passed through the alembic of man. Thus in art, does nature work through the will of a man filled with the beauty of her first works.

The world thus exists to the soul to satisfy the desire of beauty. This element I call an ultimate end. No reason can be asked or given why the soul seeks beauty. Beauty, in its largest and profoundest sense, is one expression for the universe. God is the all-fair. Truth, and goodness, and beauty, are but different faces of the same All. But beauty in nature is not ultimate. It is the herald of inward and eternal beauty, and is not alone a solid and satisfactory good. It must stand as a part, and not as yet the last or highest expression of the final cause of Nature.

Ralph Waldo Emerson Self Reliance

Ralph Waldo Emerson left the ministry to pursue a career in writing and public speaking. Emerson became one of America's best known and best-loved 19th-century figures. More About Emerson

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Short Essay: Beauty Of Nature

A couple of short essay examples on beauty of nature.

Table of Contents

Beauty Of Nature Essay Example 1

Nature is a beautiful and awe-inspiring force that surrounds us every day. It is impossible to deny the stunning beauty of nature’s landscapes, the changing seasons, and the sounds and smells that evoke feelings of peace and tranquility. In this essay, I will explore the beauty of nature through its diverse landscapes, changing seasons, and sensory experiences.

The first aspect of nature’s beauty that I will explore is its diverse landscapes. From the vast forests of the Amazon to the towering mountains of the Himalayas, nature presents us with a breathtaking array of landscapes. The oceans and deserts, too, have their unique beauty, with the former offering an endless expanse of water, and the latter providing a stark and arid landscape that is both unforgiving and beautiful. Each of these landscapes offers its unique beauty, and it is impossible not to be amazed by the incredible diversity of nature.

The changing seasons provide another opportunity to witness the beauty of nature. With each season comes new colors and natural phenomena, such as blooming flowers in the spring or fall foliage in the autumn. In the winter, the snow and ice can transform even the most mundane landscapes into a winter wonderland. The summer sunsets and beach landscapes offer a warmth and beauty that is unparalleled. Each season has its unique beauty, and it is impossible not to be moved by the changing colors and natural wonders that each one presents.

Finally, nature’s sounds and smells offer a sensory experience that is unparalleled. The sound of birds singing, the rustling of leaves in the wind, and the roar of the ocean waves all evoke feelings of peace and tranquility. The scent of pine trees, the salty sea air, and the sweet fragrance of blooming flowers can transport us to another world, one that is filled with beauty and wonder. Even the sound of rain can be beautiful, with the pitter-patter of raindrops on leaves and the soft thunder in the distance offering a soothing and calming effect.

In conclusion, the beauty of nature is evident in its diverse landscapes, changing seasons, and sensory experiences. From the towering mountains to the vast oceans, from the blooming flowers to the winter snow, nature presents us with a breathtaking array of beauty. The sounds and smells of nature only add to this beauty, evoking feelings of peace and tranquility that are impossible to find elsewhere. It is no wonder that so many people find solace and inspiration in nature, for it is truly a wonder to behold.

Beauty Of Nature Essay Example 2

Nature is an endless source of inspiration for humanity. It is the beauty of nature that keeps us connected to the natural world, and its diversity is something that never fails to amaze us. From stunning sunsets to pristine forests, nature offers us a wealth of landscapes and ecosystems that are both awe-inspiring and calming. In this essay, we will explore the beauty of nature and how it has inspired countless artists, poets, and writers throughout history.

Nature offers us a diverse range of landscapes and ecosystems that are unlike anything else on earth. From towering mountains to vast oceans, the natural world is full of breathtaking scenery that has the power to inspire and awe us. Mountains, for example, are some of the most awe-inspiring natural wonders on earth. With their towering peaks and rugged terrain, they are a testament to the raw power and majesty of nature. The oceans, on the other hand, are vast and mysterious, with an almost infinite depth and complexity that we are only beginning to understand. The diversity of nature is what makes it so beautiful, and it is this diversity that has captured the hearts and minds of so many people throughout history.

The sights and sounds of nature are incredibly calming and soothing. The chirping of birds, the rustling of leaves, and the gentle sound of a babbling brook are all examples of the soothing sounds of nature. These sounds have the power to calm us and put us at ease, and they are often used in meditation and other relaxation techniques. The same can be said for the sights of nature. A beautiful sunset or a serene forest can have a calming effect on our minds and bodies, helping us to relax and unwind. The beauty of nature is a powerful antidote to the stresses and strains of modern life.

The beauty of nature has inspired countless artists, poets, and writers throughout history. From the romantic poets of the 19th century to the impressionist painters of the 20th century, nature has been a constant source of inspiration for creative minds. The beauty of nature has been captured in countless works of art, from paintings and sculptures to poetry and literature. The great naturalist John Muir once said, “In every walk with nature, one receives far more than he seeks.” This sentiment is echoed by countless artists and writers who have found solace and inspiration in the beauty of the natural world.

Beauty Of Nature Essay Example 3

Nature is an endless source of beauty that surrounds us, from the majestic mountains to the serene beaches. The natural world provides us with breathtaking landscapes, changing seasons, and intricate designs that leave us in awe. In this essay, we will explore the beauty of nature and the different ways it manifests itself in our world.

The first aspect of nature’s beauty is found in its natural landscapes. Mountains, forests, and beaches provide us with some of the most stunning views we can experience. The towering peaks of mountains, the vast expanse of forests, and the endless stretches of sand on beaches all offer unique sights that leave a lasting impression on us. Mountains have a way of making us feel small yet significant, while forests transport us to a different world, and beaches offer a sense of peace and tranquility. The natural landscapes of our world are a testament to the beauty and power of nature.

Another way nature showcases its beauty is through the changing seasons. Each season offers its unique charm and beauty, from the vibrant colors of autumn to the blooming flowers of spring. The crisp air of autumn, the first snowfall of winter, the lush greenery of spring, and the warm sun of summer all provide us with different experiences that make us appreciate the beauty of nature. The changing seasons remind us of the constant cycle of life and the beauty that can be found in every stage.

Finally, the intricate patterns and designs found in nature are a testament to the wonder and complexity of the natural world. The symmetry of a butterfly’s wings, the spiral of a seashell, and the intricate patterns of leaves all showcase the beauty of nature at its finest. These designs not only serve a purpose but also leave us in awe of the natural world. The intricate patterns and designs found in nature remind us that there is beauty in every detail, and we need to take the time to appreciate it.

Nature’s beauty is all around us, and it is up to us to take the time to appreciate it fully. The natural landscapes, changing seasons, and intricate designs of the natural world all showcase the wonder and complexity of nature. We need to take care of our world and preserve its beauty for generations to come. As John Muir said, “in every walk with nature, one receives far more than he seeks.”

About Mr. Greg

Mr. Greg is an English teacher from Edinburgh, Scotland, currently based in Hong Kong. He has over 5 years teaching experience and recently completed his PGCE at the University of Essex Online. In 2013, he graduated from Edinburgh Napier University with a BEng(Hons) in Computing, with a focus on social media.

Mr. Greg’s English Cloud was created in 2020 during the pandemic, aiming to provide students and parents with resources to help facilitate their learning at home.

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essay about the beauty of nature

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6 What Makes Nature Beautiful?

Elizabeth Scarbrough


As you have read in this volume, much of contemporary aesthetics focuses on the nature of art and artworks. The aesthetics of nature as a subdiscipline of analytic philosophical aesthetics gained prominence in the second half of the twentieth century. [1] Discussions about the aesthetics of nature are complicated by questions about the scope of the topic: Are we talking about natural objects? Natural environments? Whole ecosystems? What about human-created natural environments such as gardens, parks, and cityscapes? Exactly what counts as natural beauty?

In what follows I will present a brief overview of different theories of the beauty of nature. I will start by discussing two historical accounts that I believe have most impacted our current conception of the beauty in nature: the picturesque and the sublime. I will then turn to a discussion of contemporary accounts of the beauty of nature, dividing these accounts into conceptual accounts, non-conceptual accounts, and hybrid accounts of nature appreciation.

Historical Accounts of the beauty of nature

Anthropocentric accounts: the picturesque and landscape aesthetics.

The picturesque is an aesthetic category often applied to the aesthetic appreciation of nature. It was popularised toward the end of the eighteenth century in Britain. [2] At the core of the notion of the picturesque is the prospect of converting natural scenes into pictures. This “landscape aesthetic” assumes that one ought to employ a mode of aesthetic appreciation of the natural environment that is informed by the practice, and aesthetic criteria of, landscape painting. Eighteenth-century landscape painters used devices such as the “Claude-glass” to help “frame” the scene they wished to paint. These Claude-glasses became so popular in the eighteenth century that travelers and other flâneurs would use them without any intention to paint the vistas they saw. [3] While there were many disparate understandings of the picturesque during this time period, I will mention two seminal figures: Sir Uvedale Price (1747–1829) and Richard Payne Knight (1750–1824). [4] Price argues that the picturesque was an objective aesthetic quality that resided in the object (Ross 1998, 133). Price believes that the picturesque could be defined through its “roughness, sudden variation, irregularity, intricacy and variety,” and his list of picturesque objects included: water, trees, buildings, ruins, dogs, sheep, horses, birds of prey, women, music, and painting. In contrast, Knight thinks that the picturesque was a mode of association found within the viewer and thus any object could be picturesque. These associations, he believes, would only be available to those who had knowledge of landscape paintings:

This very relation to painting expressed by the word picturesque, is that which affords the whole pleasure derived from association; which can, therefore, only be felt by persons who have correspondent ideas to associate; that is, by persons in a certain degree conversant in that art. Such persons being in the habit of viewing, and receiving pleasure from fine pictures, will naturally feel pleasure in viewing those objects in nature, which have called forth those powers of imitation and embellishment. (Ross 1998, 155–156)

Thus, within the history of the picturesque we see differing ideas about the source of beauty: Is beauty subjective (residing in the perceiver’s mind) or is beauty an objective quality in objects? [5] Whether you believe beauty is subjective or objective, the picturesque is probably still the most popular (mis)conception of the beauty of nature. When we think of a beautiful scene of nature, our ideas are substantially informed by our past experiences with landscape paintings, and now landscape photography.

The sublime

The sublime is another theory of the aesthetic appreciation of nature. While the first reference to the sublime is in the first century CE (we see hints of its predecessor in Aristotle’s Poetics ), [6] the term really blossomed in eighteenth-century British philosophy. Anthony Ashley-Cooper (1671–1713), third Earl of Shaftesbury (now known simply as Shaftesbury) wrote about the sublime in The Moralist: A Philosophical Rhapsody . While viewing the Alps during his “Grand Tour” he wrote,

Here thoughtless Men, seized with the Newness of such Objects, become thoughtful, and willingly contemplate the incessant Changes of their Earth’s Surface. They see, as in one instant, the Revolutions of past Ages, the fleeting forms of Things, and the Decay even of their own Globe. … The wasted Mountains show them the World itself only as a humble Ruin, and make them think of its approaching Period. (Hussey [1927] 1983, 55–56). [7]

He praises the mountains as sublime, claiming that mountains are the highest order of scenery (Hussey [1927] 1983, 55). The sublime, for Shaftesbury, is not contrary to beauty, but superior to it.

The sublime is bigger, harder, and darker than the picturesque. Unlike the picturesque, whose beauty is aimed to charm, the sublime teaches us something. The two most influential theories of the sublime are those of Edmund Burke (1729–1797) and Immanuel Kant (1724–1804).

In his Introduction to Burke’s A Philosophical Enquiry into the Origin of our Ideas of the Sublime and Beautiful, Adam Phillips writes, “Beauty and Sublimity turn out to be the outlaws of rational enquiry. Both are coercive, irresistible, and a species of seduction. The sublime is a rape, Beauty is a lure” (Burke [1757] 2008, xxii). The sublime is dangerous, full of terror. Burke’s sublime can be found in both art and nature. [8] For Burke the sublime exists in degrees, the strongest of which invokes astonishment from the viewer, mingled with a degree of horror (53). Burke claims that the strongest forms of the sublime are usually found in the ideas of eternity and infinity (57). In weaker forms, the sublime’s effects include admiration, reverence and respect (53). Burke states,

Whatever leads to raise in man his own opinion, produces a sort of swelling and triumph, that is extremely grateful to the human mind. And this swelling is never more perceived, nor operates with more force, than when without danger we are conversant with terrible objects, the mind always claiming to itself some of the dignity and importance of the things which it contemplates. (46)

When we experience the sublime, we feel as if the human mind has triumphed in the face of terror. This accomplishment is pleasurable, and thus we receive pleasure from what at first started as an unpleasurable experience.

Burke’s influence on Kant’s theory of the sublime cannot be overstated. Like Burke, Kant recognised that in experiencing the sublime, something pleasurable resulted from an experience that could not be called beautiful. Like Burke’s, Kant’s conception of the sublime is tied to notions of awe and respect, and, like Burke’s, Kant’s sublime is found in the infinite. Kant took Burke’s nascent ideas and from them developed a full-fledged theory of the sublime. Unlike Burke, Kant believed that the experience of the sublime resides solely in the minds of people.

Kant distinguishes two different types of the sublime: the mathematical and the dynamical. The paradigmatic example of the mathematical sublime is that of infinity (again, similar to Burke). With the mathematical sublime,

the feeling of the sublime is thus a feeling of displeasure from the inadequacy of the imagination in the aesthetic estimation of magnitude for the estimation by means of reason, and a pleasure that is thereby aroused at the same time from the correspondence of this very judgment of the inadequacy of the greatest sensible faculty in comparison with ideas of reason, insofar as striving from them is never less a law for us. (Kant [1790] 2001, § 27, 5:247).

For Kant, the imagination is the faculty we use to bring perceptions into our mind before we subsume these “intuitions” under concepts. With the mathematical sublime, my mind is incapable of perceiving the magnitude of what I’m witnessing. When I look up at the starry night, my mind cannot comprehend the magnitude of space. While I can’t comprehend the magnitude, I am none the less pleased at my ability to grapple with it. In sum, what Kant is saying here is that we feel displeasure in the fact that we cannot fully comprehend infinity but feel pleasure in the fact that we at least have the ability to try.

Kant’s dynamical sublime involves the recognition of the possible destructive forces in nature, which could result in our death. This recognition, while initially unpleasurable, leads to pleasure since these forces in nature (e.g., storms, winds, earthquakes) “allow us to discover within ourselves a capacity for resistance of quite another kind, which gives us the courage to measure ourselves against the apparent all-powerfulness of nature” (Kant [1790] 2001, § 28, 5:261). The experience of the dynamical sublime, then, is an experience of the enormity of nature and our role within it. We feel puny against the forces of nature, but also realise our reason gives us standing.

Now that we have discussed two historical accounts of the aesthetic appreciation of nature, I turn to more contemporary accounts.

Contemporary Accounts: (a) cognitive, (b) non-cognitive, (c) hybrid

Contemporary accounts of the aesthetic appreciation of nature start to gain traction around the 1970s. [9] This is no accident as the environmental movement was in full swing. In what follows I will discuss the contemporary accounts of the aesthetic appreciation of nature in two major camps: the cognitive (or conceptual) camp and the non-cognitive (or non-conceptual) camp. Loosely speaking, cognitive theories are those that emphasise the centrality of knowledge in the appreciation of natural beauty. These theories come in many flavours, but many of them (e.g., the theories of Carlson, Rolston, and Eaton [10] ) focus on the use of scientific categories in nature appreciation. Allen Carlson’s Natural Environmental Model (NEM) is a paradigmatic example of a cognitivist theory of the aesthetics of natural environments. For Carlson, the key to appreciating nature aesthetically is to appreciate it through our scientific knowledge. Carlson’s NEM borrows Paul Ziff’s notion of aspection (Ziff 1966, 71). Aspection (seeing the object first this way, then that) provides guidelines or boundaries for our aesthetic experiences and judgments of certain art objects. Different artworks have different boundaries, which will yield different acts of aspection. For example, while many paintings can be viewed from one location, other works of art (e.g., sculpture, architecture) require you to walk through space. Thus, painting and sculpture require different acts of aspection.

Drawing upon the insights of Ziff (and others such as Kendall Walton, [11] ) Carlson argues that the proper aesthetic appreciation of nature involves acts of aspection through the lens (or category) of scientific knowledge. [12] Just as knowledge of the art’s kind (e.g., opera, painting, sculpture) informs our appreciation, scientific information about nature informs our aesthetic appreciation of it. Thus, to truly appreciate an ecosystem or an object in that system, one must have (some) scientific knowledge in order to employ the appropriate act of aspection. Importantly, one must not treat nature as one would treat art, turning a natural object into an art object, [13] or transforming an experience of an open field into an imagined landscape painting (as theories of the picturesque might). [14] Carlson acknowledges that nature is importantly unframed and as a consequence when we try to frame nature by turning a natural object (e.g., driftwood) into a free standing object, or when one tries to frame nature by experiencing it as if looking through a Claude-glass, one imposes a frame that should not be there. Carlson’s approach is labeled “cognitivist” because it emphasises the importance of cognition in aesthetically appreciating nature well .


Non-cognitive theories are those that emphasise the subjective aesthetic experience of natural beauty and often focus on the role of the imagination. These include theories put forth by various philosophers, including Hepburn (2010), Berleant (1992), Carroll (2004), Godlovitch (1997), and Brady (1998). [15]

Emily Brady presents one such non-cognitivist model in her article “Imagination and the Aesthetic Appreciation of Nature.” Using Carlson’s NEM as a foil against her own account, she argues that basing the aesthetic appreciation of nature on scientific categories is flawed because it is “too constraining as a guide for appreciation of nature qua aesthetic object” (Brady 1998, 158). She provides four core criticisms of Carlson’s scientific approach. First, she asserts that Carlson’s account rests on a faulty analogy: just as aesthetic appreciation of art requires knowledge of art history and criticism to help place art in its correct category, we should use natural history (e.g., geology, biology, physics) to place nature in a correct category. In a (now) famous counterexample to the NEM, recounted by Brady, Noël Carroll raises the worrisome case of the waterfall (Carroll 2004, 95). Carroll asks: What scientific category must we fit a particular waterfall in order to appreciate it aesthetically? If the only category that we need is that of a waterfall, then the NEM need not rely on scientific knowledge at all, but just rely on “common sense.”

Further, Brady argues that even if we grant that scientific knowledge could enrich an aesthetic appreciation of nature, it does not seem essential to aesthetic appreciation. Ecological value, she argues, is—and ought to be—a distinct (while still overlapping) category of value. Perhaps most convincing of Brady’s objections is that the scientific approach is too constraining, since proper aesthetic appreciation of nature requires “freedom, flexibility, and creativity” (Brady 1998, 159). We should have the freedom to explore trains of thought not related to scientific categories. When looking at the weathered bark on a tree, I need not know how it was formed; rather I may make associations between the weathered tree bark and the beauty of a beloved older relative’s face—the ravines in both adding a beautiful texture to the surface. She believes that the aesthetic appreciation of nature ought to use perceptual and imaginative capacities, such as those exemplified in my tree bark/relative example. [16] Brady claims that the most desirable model of aesthetic appreciation of nature will: (a) be able to distinguish aesthetic value from other types of value, (b) provide a structure to make aesthetic judgments which are not merely subjective, and (c) solve the problem of how to guide the aesthetic appreciation of nature without reference to art models.

Criticisms of this “imaginative approach” focus on the possibility of an unfettered imagination producing absurd trains of aesthetic inquiry. For example, one might look at the ripple pattern reflecting on the water of a lake and imagine that the ripples look like the ridges of the potato chips you recently cut out of your diet. From here you begin a train of thought which leads you to worry about processed food, factory farming, and fad diets. This seems like an unproductive, and unaesthetic, train of thought. To combat this “unfettered imagination” worry, Brady gives us some guidelines to prevent self-indulgence and irrelevant trains of thought. She believes the Kantian notion of disinterestedness can help prevent the sort of train of thought I just rehearsed. [17] Further Brady gives us guidelines for what she calls “imagining well.” She believes “imagining well” should be thought of like an Aristotelian virtue: it is acquired only through practice and only becomes a virtue once it is a matter of habit. This is a non-conceptual model of aesthetic appreciation in that it does not rely on previous concepts of art or nature for deep aesthetic appreciation.

If imagining well is like an Aristotelian virtue, then there should be a developing capacity on the part of the aesthetic participant to know when to employ scientific categories and when not to. Surely, sometimes focusing on scientific categories can cut aesthetic pleasure off at the knees.

An example of this phenomenon can be seen in Mark Twain’s Life on the Mississippi :

The face of the water, in time, became a wonderful book–a book that was a dead language to the uneducated passenger, but which told its mind to me without reserve, delivering its most cherished secrets as clearly as if it uttered them with a voice.  . . . In truth, the passenger who could not read this book saw nothing but all manner of pretty pictures in it, painted by the sun and shaded by the clouds, whereas to the trained eye these were not pictures at all, but the grimmest and most dead-earnest of reading matter. . . . I had lost something which could never be restored to me while I lived. All the grace, beauty, the poetry had gone out of the majestic river. . . .The sun means that we are going to have wind to-morrow; that floating log means that the river is rising; that slanting mark on the water refers to a bluff reef which is going to kill somebody’s steamboat one of these nights. . . . No, the romance and the beauty were all gone from the river. (Twain [1883] 1984, 94–96)

This much-discussed example shows that knowledge sometimes precludes aesthetic appreciation. Turning to another example, as a flute player I am aware of passages that are particularly hard to play. One reason for their difficulty is the lack of a natural stopping place to take a quick breath. Whenever I hear another flute player perform one of such pieces, I am on the edge of my seat, anticipating when he or she will take a breath. The in-depth knowledge about the piece precludes my appreciating the overall sound of the music. Instead, I find myself focusing on the technical ability of the artists. According to Brady, I am not appropriately disinterested in this instance. If that’s the case, then almost any amount of expert knowledge (including scientific knowledge) could preclude aesthetic appreciation. Is there a happy middle ground?

Hybrid Accounts: Can We Marry Cognitive and Non-Cognitive accounts to get the best of both worlds?

Perhaps instead of aiming for a uniform experience, we should be aiming for experiences that are aesthetically meaningful and reward our attention and efforts. In other words, we should allow for the co-recognition of a variety of experiences rather than defending one account of meaning over another when it is possible to countenance them all. In his book Natural Beauty: A Theory of Aesthetics Beyond the Arts , Ronald Moore (2007) details a pluralist model of aesthetic appreciation. Moore argues that the appropriate way to aesthetically appreciate nature is syncretic: rather than using any one particular model, we should draw from multiple models. This syncretic way of appreciating nature re-integrates our appreciation of natural objects and artworks. Moore insists that we “approach the qualities of things we think worthy of admiration in nature through lenses we have developed for thinking of aesthetic qualities at large—not art, not literature, not music, not politics, not urban planning, not landscape design, but all of these and more” (2007, 216). If the goal of our aesthetic appreciation is to use those parts of our intelligent awareness that suit the object, then this model can include all modes of aesthetic appreciation.

But while such a model enables us to explore many modes of appreciation, it does not tell us what modes of appreciation are relevant to which objects. Some might see this as a weakness of the syncretic account, but one might also argue that the charm of the syncretic model is that it challenges us to come up with specific accounts of appreciation for different types of objects.

One might worry that different modes of appreciation might preclude one another. When Moore declares that syncretism is “the Unitarianism of aesthetics” (2007, 39), a precocious deist might ask if one can be both Jewish and Buddhist, both Jesuit and Bahá’í? In my view, some models are not only compatible, but also ampliative. For example, non-cognitive models of the appreciation of natural beauty that focus on “trains of ideas” or “associations,” may be informed by more cognitive models such as Carlson’s NEM. [18] Scientific information about an object of delectation can spur more interesting, and perhaps, more productive trains of thought. If we know that a particular flower blooms but once a year, that scientific information can be utilised to ground a fruitful aesthetic experience.

But some models might be incommensurable; it might be impossible to employ two models at the same time, to have two experiences of appreciation at the same time. In this scenario we might decide to alternate between two different modes of appreciation. Take, for example, the film critic. Film critics often watch movies twice: once to allow themselves to enjoy the film—to immerse themselves, and the second time to focus on technical aspects of the production with an eye toward their criticism. The “technical” mode and the “immersion” mode might very well be incompatible, but one might be able to switch off and on between the two. If this is the case, there is nothing stopping me from having one experience after the other as the appreciation unfolds throughout time. These multiple avenues for aesthetic pleasure favor a syncretic model, or pluralist model, of aesthetic appreciation. We must draw upon whatever models we have at our disposal, including conceptual as well as non-conceptual models, artistic as well as natural models, historical and contemporary models alike.

In this chapter we examined some of the historical underpinnings of our appreciation of nature, namely the British Picturesque and the sublime. We then discussed cognitive, non-cognitive, and hybrid accounts of the aesthetic appreciation of nature. What I hope to have shown is that there is no one-principle-fits-all solution for all aesthetic experiences of nature. An immersive experience river rafting will be different from birdwatching. Knowledge in some cases will add depth to our aesthetic experiences, while in other cases will impede our ability to appreciate. We should thus embrace a pluralistic model of aesthetic engagement, one that allows us to employ different models to different objects—or different models at different times in our life. The appropriate response to nature, for the sublime, is awe and humility. This might be instructive for me at a particular time in my life. At another time, the NEM might allow me to gain access to experiences of unscenic nature otherwise inaccessible through other models (such as the picturesque).

I would like to leave you with one final thought: we need not go to a National Park to engage with nature. We live in nature and are part of it. It is accessible to us in the trees that line our streets, the urban animals who forage for scraps in our trash bins, and in the sunsets we watch through our car windshield on our commute home. The beauty of nature surrounds us and is available to all—free of charge.

Alison, Archibald. 1790. Essays on the Nature and Principles of Taste . London: J.J.G and G. Robinson.

Berleant, Arnold. 1992. The Aesthetics of Environments . Philadelphia, PA: Temple University Press.

Brady, Emily. 1998. “Imagination and the Aesthetic Appreciation of Nature.” The Journal of Aesthetics and Art Criticism 56, no. 2 (Spring): 139–147. https://doi.org/10.2307/432252. Reprinted in Carlson and Berleant 2004.

Burke, Edmund. (1757) 2008. A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful . Edited by Adam Phillips. Oxford: Oxford University Press.

Carlson, Allen. 1979. “Appreciation and the Natural Environment.” The Journal of Aesthetics and Art Criticism 37, no. 3 (Spring): 267–275.

Carlson, Allen, and Arnold Berleant, eds. 2004. The Aesthetics of Natural Environments . Peterborough, ON: Broadview Press.

Carroll, Noël. 2004. “On Being Moved by Nature: Between Religion and Natural History.” In The Aesthetics of Natural Environments , edited by Allen Carlson and Arnold Berleant. Ontario, Canada: Broadview Press.

Dewey, John. (1934) 2005. Art as Experience . New York: Perigee Books.

Eaton, Marcia Mulder. 2004. “Fact and Fiction in the Aesthetic Appreciation of Nature.” In Carlson and Berleant, The Aesthetics of Natural Environments, 170–181.

Gilpin, William. (1768) 2010. “An Essay upon Prints, Containing Remarks upon the Principles of picturesque Beauty.” In Three Essays: On Picturesque Beauty; on Picturesque Travel; and on Sketching Landscape: To Which Is Added a Poem, on Landscape Painting. Farmington Hills, MI: Gale ECCO, Print Editions.

Godlovitch, Stan. 1997. “Carlson on Appreciation.” S. Godlovitch and A. Carlson Debate 55 (Winter): 53–57. https://doi.org/10.2307/431604 .

Hepburn, Ronald. 2010. “The Aesthetics of Sky and Space.” Environmental Values 19, no. 3: 273–288. https://doi.org/10.3197/096327110X519835 .

Hussey, Christopher. (1927) 1983. The Picturesque: Studies in a Point of View . London: F. Cass.

Kant, Immanuel. (1790) 2001. Critique of the Power of Judgment . Translated by Paul Guyer. Cambridge, UK: Cambridge University Press.

Marsh, George Perkins. (1865) 2018. Man and Nature: Or Physical Geography as Modified by Human Action . CreateSpace Independent Publishing Platform.

Moore, Ronald. 2007. Natural Beauty: A Theory of Aesthetics Beyond the Arts . Peterborough, ON: Broadview Press.

Muir, John. 1894. The Mountains of California . New York: Century Co.

Rolston III, Holmes. 2004. “The Aesthetic Experience of Forest.” In Carlson and Berleant, The Aesthetics of Natural Environments , 182–195.

Ross, Stephanie. 1998. What Gardens Mean . Chicago: University Of Chicago Press.

Shaftesbury, Earl of (Anthony Ashley Cooper). (1709) 2010. The Moralists, a Philosophical Rhapsody. Being a Recital of Certain Conversations upon Natural and Moral Subjects. Farmington Hills, MI: Gale ECCO, Print Editions.

Thoreau, Henry D. (1862) 2012. October, or Autumnal Tints . Illustrated by Lincoln Perry. New York: W. W. Norton & Company.

Twain, Mark. (1883) 1984. Life on the Mississippi . New York: Penguin.

Walton, Kendall L. 1970. “Categories of Art.” The Philosophical Review 79, no. 3 (July 1): 334–67. https://doi.org/10.2307/2183933 .

Ziff, Paul. 1966. Philosophical Turnings: Essays in Conceptual Appreciation . Ithaca, NY: Cornell University Press.

  • Ronald Hepburn’s 1966 article, “Contemporary Aesthetics and the Neglect of Natural Beauty,” is a good place to start and a must-read for anyone interested in the topic. This essay, and many others I discuss in this chapter, can be found in Allen Carlson and Arnold Berleant’s edited volume, Aesthetics of the Natural Environment (Carlson and Berleant 2004). ↵
  • The term seems to have first appeared in 1768, in an essay by Rev. William Gilpin (1724–1804) entitled, “An Essay Upon Prints,” where Gilpin defined the picturesque simply as “a term expressive of that peculiar kind of beauty which is agreeable in a picture” ([1768] 2010, xii). ↵
  • Allen Carlson, whose Natural Environmental Model we will discuss in the next section, has noted that if we are to adhere to the landscape cult’s practice of viewing the environment as a landscape painting, we are essentially forced to see the natural environment as static and as a mere two-dimensional representation. This leads us to have an incomplete and shallow aesthetic engagement with the natural environment. ↵
  • While I will discuss only Sir Uvedale Price and Richard Payne Knight, two other men would be relevant to a longer discussion about the picturesque: William Gilpin and Humphry Repton (1752–1818). ↵
  • As we will see in the next section on the sublime, Kant’s theory of judgment places beauty in the minds of the spectator. ↵
  • The first reference to the sublime is thought to be Longinus: Peri Hupsous/Hypsous. The sublime was said to inspire awe. Aristotle believed that horrific events (in tragic plays) call upon fear and pity, resulting in a catharsis in the spectator. Elements of this view can be found in many theories of the sublime. ↵
  • See also Shaftesbury ([1709] 2010) ↵
  • Burke believed that anything that contained one or more of the following attributes could be perceived as sublime: (1) Obscurity, (2) Power, (3), Privation (4), Vastness, (5) Infinity, (6) Succession, (7) Uniformity ([1757] 2008, 61–76). ↵
  • Please note that I have skipped over the nineteenth century aesthetics of nature here. In G.W.F. Hegel’s (1770–1831) aesthetics, philosophy of art expressed “Absolute Spirit” and nature was relegated to a footnote. Only a handful of Romantic thinkers thought and wrote on the aesthetics of nature, and many of these were in the United States. For a good introduction read Henry David Thoreau's (1817–1862) “Autumnal Tints” (Thoreau [1862] 2012), George Perkins Marsh (1801–1882) ([1865] 2018), and the environmentalist John Muir's (1838–1914) “A View of the High Sierra” (Muir 1894). ↵
  • An introduction to Carlson’s cognitive model for the aesthetic appreciation of nature can be found in his “Appreciation and the Natural Environment” (Carlson 1979). For an introduction to Holmes Rolston III’s cognitive model, please see his “The Aesthetic Experience of Forests” (Rolston III 2004). A good introduction to Marcia Muelder Eaton can be found in her “Fact and Fiction in the Aesthetic Appreciation of Nature” (Eaton 2004). ↵
  • Carlson also draws upon Kendall Walton’s “Categories of Art” (1970) in which Walton argues that we need art historical information to make well-informed aesthetic judgments. For example, if I were to judge Jeff Koons’s “Balloon Swan” as a failure of minimalist sculpture, I wouldn’t be attending to the properties of “Balloon Swan” which makes it a successful piece of (non-minimalist) contemporary pop sculpture. In order to appreciate “Balloon Swan” appropriately, I must categorise it appropriately. ↵
  • While Carlson gives priority to appreciation informed by scientific knowledge, he does acknowledge the role of common sense in our aesthetic appreciation of nature. ↵
  • The “object model”—as Carlson calls it—asks the appreciator to take the object out of its natural environment and observe its formal properties such as symmetry, unity, etc. When we do this, we appreciate the natural object as an art object, thus only appreciating a limited set of aesthetic properties, namely those formal properties that we find in art. In rejecting this model, Carlson demands that our appreciation of a natural object requires us to place it in its natural context. For example, we should see the honeycomb as part of the bee life cycle and appreciate the purpose and role it plays in nature. ↵
  • The “landscape model” asks us to aesthetically appreciate a natural landscape as we would appreciate the painting or picture of that natural landscape. We are asked to attend to the scenic qualities of the landscape, to appreciate its lines and form. Unlike a painting, which is already presented to us as a framed object, we should likewise frame the landscape. This model reinforces the subject/object distinction, by asking us to place ourselves outside or in opposition to the landscape that we are trying to appreciate. ↵
  • Non-cognitive accounts may further be divided into imagination accounts (Brady) and immersion accounts (Berleant). While I focus here on imagination accounts, Berleant’s immersion account is instructive. Berleant argues that the appropriate way to appreciate nature is through engagement; this non-conceptual model (of engagement) correctly emphasises humanity’s continuity with the natural world and nature’s boundlessness where other models do not. ↵
  • Brady details four different types of imagination: (i) exploratory, which is the imaginative search for unity in perception, (ii) projective, where we intentionally see something as something else, (iii) ampliative, which moves beyond mere imagination to draw upon other cognitive resources, and (iv) revelatory , where the ampliative imagination has led to the discovery of an aesthetic truth (Brady 1998, 163). ↵
  • The First Moment in the Critique of the Power of Judgment tells us that judgments of taste (which are judgments about beauty) are “disinterested.” Kant details a few different ways in which these judgments are disinterested: we must not ask if the object is good (or good for something), we shouldn’t invoke sensations of the agreeable, and we shouldn’t care about the real existence of the object. Let’s take these three forms of interest in turn. First, when looking at something beautiful (let’s say a flower) I shouldn’t care if the flower is good for something (such as being good for medicinal purposes). I shouldn’t also care if the object is morally good. Second, when I make a judgment of beauty, I am not saying that the object is “agreeable” or pleasing to me. Going back to our flower example—Kant doesn’t want us to say something like, “this flower is agreeable to me since it is the kind my mother used to give me when I was sick.” Finally, we shouldn’t care whether or not the object is real. A mirage of a flower and an actual flower should hold the same judgment of beauty. In this sense we are disinterested in whether the object is real or imaginary. ↵
  • Those who argue for “associative” models of aesthetic experience might include Archibald Alison (1790), who argues that objects spur “trains of ideas of emotions”; John Dewey’s discussion of “trains of ideas” ([1934] 2005); and Emily Brady on “Imagining Well” (1998). ↵

What Makes Nature Beautiful? Copyright © 2021 by Elizabeth Scarbrough is licensed under a Creative Commons Attribution 4.0 International License , except where otherwise noted.

Nature Essay for Students and Children

500+ words nature essay.

Nature is an important and integral part of mankind. It is one of the greatest blessings for human life; however, nowadays humans fail to recognize it as one. Nature has been an inspiration for numerous poets, writers, artists and more of yesteryears. This remarkable creation inspired them to write poems and stories in the glory of it. They truly valued nature which reflects in their works even today. Essentially, nature is everything we are surrounded by like the water we drink, the air we breathe, the sun we soak in, the birds we hear chirping, the moon we gaze at and more. Above all, it is rich and vibrant and consists of both living and non-living things. Therefore, people of the modern age should also learn something from people of yesteryear and start valuing nature before it gets too late.

nature essay

Significance of Nature

Nature has been in existence long before humans and ever since it has taken care of mankind and nourished it forever. In other words, it offers us a protective layer which guards us against all kinds of damages and harms. Survival of mankind without nature is impossible and humans need to understand that.

If nature has the ability to protect us, it is also powerful enough to destroy the entire mankind. Every form of nature, for instance, the plants , animals , rivers, mountains, moon, and more holds equal significance for us. Absence of one element is enough to cause a catastrophe in the functioning of human life.

We fulfill our healthy lifestyle by eating and drinking healthy, which nature gives us. Similarly, it provides us with water and food that enables us to do so. Rainfall and sunshine, the two most important elements to survive are derived from nature itself.

Further, the air we breathe and the wood we use for various purposes are a gift of nature only. But, with technological advancements, people are not paying attention to nature. The need to conserve and balance the natural assets is rising day by day which requires immediate attention.

Get the huge list of more than 500 Essay Topics and Ideas

Conservation of Nature

In order to conserve nature, we must take drastic steps right away to prevent any further damage. The most important step is to prevent deforestation at all levels. Cutting down of trees has serious consequences in different spheres. It can cause soil erosion easily and also bring a decline in rainfall on a major level.

essay about the beauty of nature

Polluting ocean water must be strictly prohibited by all industries straightaway as it causes a lot of water shortage. The excessive use of automobiles, AC’s and ovens emit a lot of Chlorofluorocarbons’ which depletes the ozone layer. This, in turn, causes global warming which causes thermal expansion and melting of glaciers.

Therefore, we should avoid personal use of the vehicle when we can, switch to public transport and carpooling. We must invest in solar energy giving a chance for the natural resources to replenish.

In conclusion, nature has a powerful transformative power which is responsible for the functioning of life on earth. It is essential for mankind to flourish so it is our duty to conserve it for our future generations. We must stop the selfish activities and try our best to preserve the natural resources so life can forever be nourished on earth.

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Small Essay on Beauty of Nature

The beauty of nature is a wonder that surrounds us every day, and it’s something worth celebrating and preserving. Nature’s beauty can be found in the landscapes, creatures, and the delicate balance of life on our planet. In this essay, we will explore why the beauty of nature is not only a source of inspiration but also essential for our well-being and the health of our planet.

A World of Diverse Landscapes

Nature offers us a world of diverse landscapes, from majestic mountains to serene lakes, dense forests to expansive deserts. Each landscape tells a unique story, and their beauty lies in their vastness, colors, and the tranquility they provide to those who immerse themselves in their wonders.

Harmony in Biodiversity

Biodiversity is a key aspect of nature’s beauty. The variety of plants, animals, and ecosystems on Earth is a testament to the intricate web of life that sustains our planet. From the delicate fluttering of a butterfly to the regal majesty of a lion, each species contributes to the rich tapestry of life’s beauty.

Calming Effects on Humans

Spending time in nature has proven to have numerous benefits for humans. Studies show that exposure to natural environments reduces stress and anxiety and improves mental well-being. The soothing sounds of birdsong, the gentle rustling of leaves, and the fragrance of flowers all contribute to our inner peace.

Inspiration for Art and Creativity

Nature has been an eternal muse for artists, writers, and musicians. The beauty of landscapes, the colors of flowers, and the grace of animals have inspired countless works of art, literature, and music. Nature’s beauty fuels our creativity and allows us to express our thoughts and emotions.

A Source of Recreation

Nature provides countless opportunities for recreational activities such as hiking, camping, birdwatching, and more. Engaging in these activities allows us to connect with nature, fostering a deeper appreciation for its beauty while promoting physical and mental well-being.

Conservation of Natural Beauty

Preserving the beauty of nature is not just a matter of aesthetic appreciation; it’s a matter of survival. Ecosystems that thrive in their natural state provide essential services like clean air, water purification, and climate regulation. Protecting these ecosystems ensures that the beauty of nature endures for future generations.

Threats to Natural Beauty

Sadly, the beauty of nature is under threat from various human activities, including deforestation, pollution, and habitat destruction. These actions harm not only the environment but also the very beauty that enriches our lives. It is our responsibility to protect and restore what we have damaged.

Reconnecting with Nature

In our fast-paced, technology-driven world, it’s easy to become disconnected from nature. However, taking the time to reconnect with nature’s beauty, whether through a walk in the park or a camping trip, can help us appreciate its significance in our lives.

Conclusion of Small Essay on Beauty of Nature

In conclusion, the beauty of nature is a treasure that enriches our lives in countless ways. From diverse landscapes to the intricate web of life, from the calming effects on our well-being to the inspiration it provides, nature’s beauty is both a gift and a responsibility. By valuing and protecting the beauty of nature, we not only enhance our own lives but also ensure the health and sustainability of our planet. Let us be stewards of this beauty, for it is a legacy to be passed on to future generations, a legacy of wonder, inspiration, and harmony.

Also Check: Simple Guide on How To Write An Essay

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Descriptive Essay on Beauty of Nature

Nature is vast and full of beautiful things that comfort our physical and emotional senses. The beauty of nature is somehow immortal, infinite and eternal. The beauty of nature is a perfect reflection of the art of Allah Almighty. Natural beauty may be extinct at the moment, but as “the joy of beauty is eternal happiness”, so the effect of that beauty on the mind can never be in vain.

Natural beauty is a treasure that will never end. Nature has many faces. They are everywhere. The human eye is always in contact with good things.

One of the many beautiful features of nature is the sunrise and sunset. A person with a sense of beauty will never be able to ignore the beauty of the red light of the rising sun and the fading glow of the stars. Likewise, the beauty of sunset has inspired many sensitive and artistic people to compose verses of praise, write beautiful prose and paint, and capture the event with a cloth or a camera forever.

Another aspect of natural beauty can be found in the night sky. Arriving at your destination, the glowing stars and the glowing moon of the moon have nothing in common. Under the influence of the moonlight, this world also becomes a beautiful world and a dream world.

The changing seasons have their beauty that has fascinated the human mind for centuries and will continue to impress until the end of the universe. Spring is the most beautiful of the seasons and is undoubtedly the queen of the seasons. During this period, The earth was filled with lush vegetation, colours, and aromas. Spring is a time of beauty and love, hope and happiness, life and happiness. Forests, lush plains, fields, and meadows prowl the lush vegetation to attract attention. Spring has endless and countless charms and beauty. Autumn has its golden, brown and mature colours. A life that started in the spring matures in the fall. This is a time for maturity and maturity. Summer is a season that helps the ripening process. It has its charms and beauty in the form of the most delicious fruits and vegetables.

Cold winters, snow and fog have other advantages. It is a season of white, grey and black. Snow and ice have a fantastic effect on the human mind and are not as appealing as the dark clouds and the wind.

On the other hand, nature has the beauty of the refreshing sky, the snowcapped mountains, and the deep green valleys. On the other hand, it has the mysteries and incomparable beauty of the deep blue sea. Nature preserves the beauty of the desolate desert and empty sand during the oasis. Its long-date trees that grow in the spring of freshwater show excellent scenes for tired and thirsty travellers.

Nature has endless treasures of beauty in the form of various beautiful living creatures. The world of birds, beasts, reptiles, and fish is teeming with life and millions of species of all kinds, in size and colour and on the earth, in the sky and the water. They are everywhere and at all times. They adorn the environment by simply being present.

Humans, the “crown of creation,” is by no means the most beautiful. Beauty lies in the condition of the body, the brain and the soul. It exists like human nature, such as mother, sister, brother and father, friend and companion.

Beauty is present in the child’s smiling face, the mother’s prayerful hand and the anxious state of the father. Beauty is like the reassuring handshake of a friend, the gentle touch of a brother and the love of a caring sister.

Undoubtedly beauty exists in man, in the environment, green fields, high mountains and small hills, in the moonlight and stars. Nature is full of the beauty that exists, almost everything scattered about us. “Beauty, truth, truth, and Beauty,” as the saying goes.

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Articles About the Beauty of Nature: Top 5 Examples

Nature’s beauty has always been an exciting subject. Discover our articles about the beauty of nature examples and prompts to start writing!

While watching Our Planet episodes, I can’t help but be surprised at how diverse, and complex nature is. It encompasses the frozen worlds and high seas down to jungles, deserts, and coastal areas. This ambitious documentary is bound to impress every human being by showcasing the natural beauty of planet earth. 

Humans are closely connected to nature, so everyone can enjoy reading essays about nature . Aside from the many gifts it gives us that are necessary for survival, it also helps us de-stress and reduce anxiety symptoms. When we’re with nature, we feel better emotionally and physically. It’s why we continuously talk about its beauty, whether through poems, songs, or articles.

5 Examples of Articles About the Beauty of Nature

1. the 7 natural wonders of the world by carly dodd, 2. beauty in nature by michael popejoy, 3. how the brain paints the beauty of nature by technology networks, 4. beauty in the natural world by ella frances sanders, 5. the beauty of nature by ashar homee, 1. the beauty of nature throughout history, 2. how nature expresses beauty, 3. what nature teach us, 4. biomorphic architecture: inspiration from the beauty of nature, 5. how the beauty of nature inspires humans, 6. documentaries about nature’s beauty, 7. nature conservation day.

“From mountain peaks to waterfalls, underwater marvels and dazzling sky optics, each natural wonder highlights a different aspect of the beauty of Earth’s natural world.”

It’s fascinating to watch how nature does wonders. The seven natural wonders of the world featured by the site were chosen through the collaboration of the Seven Natural Wonders Organization and CNN, a broadcasting network. It showcases the diverse beauty only the earth can offer. The author features these beautiful destinations, accompanied by breathtaking photos and descriptions of each, including a map where one can easily see the locations. You might also like these authors like Wendell Berry .

“The beauty of nature can have a profound effect upon our senses, those gateways from the outer world to the inner, whether it results in disbelief in its very existence as Emerson notes, or feelings such as awe, wonder, or amazement.”

Our perception of nature gives us pleasure, and this emotional response helps us understand and experience beauty. Popejoy highlights Emerson’s musings shared through his books and essays in this article and focuses on nature and beauty. 

The author cites quotable statements from the essays’ Nature,’ ‘Art,’ ‘Beauty,’ and ‘Spiritual Laws,’ and from the book ‘Nature.’ He also elaborates on these excerpts and gives critical key points for an easier understanding of the concepts and thoughts presented. 

“How does a view of nature gain its gloss of beauty? We know that the sight of beautiful landscapes engages the brain’s reward systems. But how does the brain transform visual signals into aesthetic ones? Why do we perceive a mountain vista or passing clouds as beautiful?”

The beauty of nature is as complex as how our brains work. Technology Networks presents a study where researchers analyzed participants’ brain activities when viewing videos about nature. Its interesting discovery contributes to our grasp of nature’s beauty, specifically what we consider “aesthetically pleasing.” The article also shares that the study offers insights into how the natural environment can affect our inner self and improve our well-being. 

“For some, natural beauty means the absence of perfection or repetition, but for others it is the widespread, symmetrical repetition that is so pleasing, so meaningful, so memorable – both havoc and order are spread richly throughout the natural world.”

This article about nature is an excerpt from the book ‘Everything, Beautiful’ by Sanders. The author starts by having a touch of the historical appreciation of beauty and goes on by defining the concept. It has a unique interpretation of music and harmony in nature and brilliant insights into how flowers and trees develop, just like how humans grow. You may find these articles about geography for students helpful.

“It is beautiful that nature is living, moving, and reproducing. Growth and development are often observed in nature, while the vast majority of man-made objects are static and deteriorating.”

Nature offers the basic needs for humans to live – food, air, and water. Its abundance can teach us about sustainability and prosperity. Homee encourages its readers to spend more time with nature and appreciate its greatest gifts of rest, calmness, recreation, and quality time. The writer also talks about how nature has become the central subject of different works of art , music, and poetry. 

7 Writing Prompts for Articles About the Beauty of Nature

Since the third century B.C.E. , poets have used nature as the central source of ideas for their masterpieces. Today, contemporary poets are still equally inspired to draw their emotions and observations through the beauty of nature. 

For this prompt, identify some renowned poems, dances, or songs greatly influenced by nature’s beauty. Describe how humans documented the beauty of nature through the years and add its relevance to society’s recognition and expression of beauty. 

How nature expresses beauty?

The beauty of nature is expressed through various and constant changes. It can be observed in land and rock formations, constant flux in river currents, and the air breeze in the summer and winter seasons. In your article, highlight how nature displays its beauty in different forms. 

Discuss some well-known wonders and creatures and delve into their unique beauty. For example, the Himalayan mountains that house mount Everest – the tallest standing mountain in the world. You could use your article to describe how these mountain ranges stand still during different seasons. 

Urge your readers to appreciate nature by recognizing concepts and ideas readily provided by nature. For instance, the metamorphosis of a butterfly is a cycle that doesn’t only demonstrate a beautiful transformation of a caterpillar to a butterfly but also teaches us that we can grow and improve ourselves in the future. 

Another example is bamboo trees that sway and bend depending on the wind. But no matter how far it bends, it doesn’t break. It’s a great lesson on resilience: no matter the difficulty of a problem, we should be tough and always stand back up when beaten down.

Biomorphic structures often depict the shapes of trees, leaves, animals, and natural creatures. Architects have used this natural symbolism even in Ancient Greek and Roman architecture . In your article, dive into the different architectural works that use patterns in nature around the world.

Briefly describe the biomorphic style and explain how the beauty of nature has inspired the creation of these structures. For instance, the Iidabashi Subway Station in Tokyo, Japan, was inspired by living plants and blooms like a flower. 

How the beauty of nature inspires humans?

Humans have unique talents in designing and crafting products. Artists often associate their artworks with their admiration for the natural environment. For this prompt, pick out famous pieces of jewelry and clothing that borrow features from nature. Then, describe how these arts celebrate the earth’s natural wonders through their crafts. 

Documentaries are great ways to show the beauty of nature. Research different documentaries and series and offer your review of them in your article. Make sure that nature is the center of your discussion. Briefly discuss the content and the ecosystem in the spotlight in your review. It is also essential to provide the documentaries’ links so your audience can access and watch them. 

To preserve the beauty of nature, World Nature Conservation Day is celebrated annually every July. In this prompt, discuss the purpose of celebrating this day, and include a brief history of the cause.

You can also check previous celebrations, and you can emphasize remarkable events that happened to help your readers better understand the occasion. For help editing your articles, we recommend using the best grammar checker . Our roundup profiles these tools and offers discounts.

essay about the beauty of nature

Maria Caballero is a freelance writer who has been writing since high school. She believes that to be a writer doesn't only refer to excellent syntax and semantics but also knowing how to weave words together to communicate to any reader effectively.

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The nature of beauty is one of the most enduring and controversial themes in Western philosophy, and is—with the nature of art—one of the two fundamental issues in the history of philosophical aesthetics. Beauty has traditionally been counted among the ultimate values, with goodness, truth, and justice. It is a primary theme among ancient Greek, Hellenistic, and medieval philosophers, and was central to eighteenth and nineteenth-century thought, as represented in treatments by such thinkers as Shaftesbury, Hutcheson, Hume, Burke, Kant, Schiller, Hegel, Schopenhauer, Hanslick, and Santayana. By the beginning of the twentieth century, beauty was in decline as a subject of philosophical inquiry, and also as a primary goal of the arts. However, there was revived interest in beauty and critique of the concept by the 1980s, particularly within feminist philosophy.

This article will begin with a sketch of the debate over whether beauty is objective or subjective, which is perhaps the single most-prosecuted disagreement in the literature. It will proceed to set out some of the major approaches to or theories of beauty developed within Western philosophical and artistic traditions.

1. Objectivity and Subjectivity

2.1 the classical conception, 2.2 the idealist conception, 2.3 love and longing, 2.4 hedonist conceptions, 2.5 use and uselessness, 3.1 aristocracy and capital, 3.2 the feminist critique, 3.3 colonialism and race, 3.4 beauty and resistance, other internet resources, related entries.

Perhaps the most familiar basic issue in the theory of beauty is whether beauty is subjective—located ‘in the eye of the beholder’—or rather an objective feature of beautiful things. A pure version of either of these positions seems implausible, for reasons we will examine, and many attempts have been made to split the difference or incorporate insights of both subjectivist and objectivist accounts. Ancient and medieval accounts for the most part located beauty outside of anyone’s particular experiences. Nevertheless, that beauty is subjective was also a commonplace from the time of the sophists. By the eighteenth century, Hume could write as follows, expressing one ‘species of philosophy’:

Beauty is no quality in things themselves: It exists merely in the mind which contemplates them; and each mind perceives a different beauty. One person may even perceive deformity, where another is sensible of beauty; and every individual ought to acquiesce in his own sentiment, without pretending to regulate those of others. (Hume 1757, 136)

And Kant launches his discussion of the matter in The Critique of Judgment (the Third Critique) at least as emphatically:

The judgment of taste is therefore not a judgment of cognition, and is consequently not logical but aesthetical, by which we understand that whose determining ground can be no other than subjective . Every reference of representations, even that of sensations, may be objective (and then it signifies the real [element] of an empirical representation), save only the reference to the feeling of pleasure and pain, by which nothing in the object is signified, but through which there is a feeling in the subject as it is affected by the representation. (Kant 1790, section 1)

However, if beauty is entirely subjective—that is, if anything that anyone holds to be or experiences as beautiful is beautiful (as James Kirwan, for example, asserts)—then it seems that the word has no meaning, or that we are not communicating anything when we call something beautiful except perhaps an approving personal attitude. In addition, though different persons can of course differ in particular judgments, it is also obvious that our judgments coincide to a remarkable extent: it would be odd or perverse for any person to deny that a perfect rose or a dramatic sunset was beautiful. And it is possible actually to disagree and argue about whether something is beautiful, or to try to show someone that something is beautiful, or learn from someone else why it is.

On the other hand, it seems senseless to say that beauty has no connection to subjective response or that it is entirely objective. That would seem to entail, for example, that a world with no perceivers could be beautiful or ugly, or perhaps that beauty could be detected by scientific instruments. Even if it could be, beauty would seem to be connected to subjective response, and though we may argue about whether something is beautiful, the idea that one’s experiences of beauty might be disqualified as simply inaccurate or false might arouse puzzlement as well as hostility. We often regard other people’s taste, even when it differs from our own, as provisionally entitled to some respect, as we may not, for example, in cases of moral, political, or factual opinions. All plausible accounts of beauty connect it to a pleasurable or profound or loving response, even if they do not locate beauty purely in the eye of the beholder.

Until the eighteenth century, most philosophical accounts of beauty treated it as an objective quality: they located it in the beautiful object itself or in the qualities of that object. In De Veritate Religione , Augustine asks explicitly whether things are beautiful because they give delight, or whether they give delight because they are beautiful; he emphatically opts for the second (Augustine, 247). Plato’s account in the Symposium and Plotinus’s in the Enneads connect beauty to a response of love and desire, but locate beauty itself in the realm of the Forms, and the beauty of particular objects in their participation in the Form. Indeed, Plotinus’s account in one of its moments makes beauty a matter of what we might term ‘formedness’: having the definite shape characteristic of the kind of thing the object is.

We hold that all the loveliness of this world comes by communion in Ideal-Form. All shapelessness whose kind admits of pattern and form, as long as it remains outside of Reason and Idea, is ugly from that very isolation from the Divine-Thought. And this is the Absolute Ugly: an ugly thing is something that has not been entirely mastered by pattern, that is by Reason, the Matter not yielding at all points and in all respects to Ideal-Form. But where the Ideal-Form has entered, it has grouped and coordinated what from a diversity of parts was to become a unity: it has rallied confusion into co-operation: it has made the sum one harmonious coherence: for the Idea is a unity and what it moulds must come into unity as far as multiplicity may. (Plotinus, 22 [ Ennead I, 6])

In this account, beauty is at least as objective as any other concept, or indeed takes on a certain ontological priority as more real than particular Forms: it is a sort of Form of Forms.

Though Plato and Aristotle disagree on what beauty is, they both regard it as objective in the sense that it is not localized in the response of the beholder. The classical conception ( see below ) treats beauty as a matter of instantiating definite proportions or relations among parts, sometimes expressed in mathematical ratios, for example the ‘golden section.’ The sculpture known as ‘The Canon,’ by Polykleitos (fifth/fourth century BCE), was held up as a model of harmonious proportion to be emulated by students and masters alike: beauty could be reliably achieved by reproducing its objective proportions. Nevertheless, it is conventional in ancient treatments of the topic also to pay tribute to the pleasures of beauty, often described in quite ecstatic terms, as in Plotinus: “This is the spirit that Beauty must ever induce: wonderment and a delicious trouble, longing and love and a trembling that is all delight” (Plotinus 23, [ Ennead I, 3]).

At latest by the eighteenth century, however, and particularly in the British Isles, beauty was associated with pleasure in a somewhat different way: pleasure was held to be not the effect but the origin of beauty. This was influenced, for example, by Locke’s distinction between primary and secondary qualities. Locke and the other empiricists treated color (which is certainly one source or locus of beauty), for example, as a ‘phantasm’ of the mind, as a set of qualities dependent on subjective response, located in the perceiving mind rather than of the world outside the mind. Without perceivers of a certain sort, there would be no colors. One argument for this was the variation in color experiences between people. For example, some people are color-blind, and to a person with jaundice much of the world allegedly takes on a yellow cast. In addition, the same object is perceived as having different colors by the same the person under different conditions: at noon and midnight, for example. Such variations are conspicuous in experiences of beauty as well.

Nevertheless, eighteenth-century philosophers such as Hume and Kant perceived that something important was lost when beauty was treated merely as a subjective state. They saw, for example, that controversies often arise about the beauty of particular things, such as works of art and literature, and that in such controversies, reasons can sometimes be given and will sometimes be found convincing. They saw, as well, that if beauty is completely relative to individual experiencers, it ceases to be a paramount value, or even recognizable as a value at all across persons or societies.

Hume’s “Of the Standard of Taste” and Kant’s Critique Of Judgment attempt to find ways through what has been termed ‘the antinomy of taste.’ Taste is proverbially subjective: de gustibus non est disputandum (about taste there is no disputing). On the other hand, we do frequently dispute about matters of taste, and some persons are held up as exemplars of good taste or of tastelessness. Some people’s tastes appear vulgar or ostentatious, for example. Some people’s taste is too exquisitely refined, while that of others is crude, naive, or non-existent. Taste, that is, appears to be both subjective and objective: that is the antinomy.

Both Hume and Kant, as we have seen, begin by acknowledging that taste or the ability to detect or experience beauty is fundamentally subjective, that there is no standard of taste in the sense that the Canon was held to be, that if people did not experience certain kinds of pleasure, there would be no beauty. Both acknowledge that reasons can count, however, and that some tastes are better than others. In different ways, they both treat judgments of beauty neither precisely as purely subjective nor precisely as objective but, as we might put it, as inter-subjective or as having a social and cultural aspect, or as conceptually entailing an inter-subjective claim to validity.

Hume’s account focuses on the history and condition of the observer as he or she makes the judgment of taste. Our practices with regard to assessing people’s taste entail that judgments of taste that reflect idiosyncratic bias, ignorance, or superficiality are not as good as judgments that reflect wide-ranging acquaintance with various objects of judgment and are unaffected by arbitrary prejudices. Hume moves from considering what makes a thing beautiful to what makes a critic credible. “Strong sense, united to delicate sentiment, improved by practice, perfected by comparison, and cleared of all prejudice, can alone entitle critics to this valuable character; and the joint verdict of such, wherever they are to be found, is the true standard of taste and beauty” (“Of the Standard of Taste” 1757, 144).

Hume argues further that the verdicts of critics who possess those qualities tend to coincide, and approach unanimity in the long run, which accounts, for example, for the enduring veneration of the works of Homer or Milton. So the test of time, as assessed by the verdicts of the best critics, functions as something analogous to an objective standard. Though judgments of taste remain fundamentally subjective, and though certain contemporary works or objects may appear irremediably controversial, the long-run consensus of people who are in a good position to judge functions analogously to an objective standard and renders such standards unnecessary even if they could be identified. Though we cannot directly find a standard of beauty that sets out the qualities that a thing must possess in order to be beautiful, we can describe the qualities of a good critic or a tasteful person. Then the long-run consensus of such persons is the practical standard of taste and the means of justifying judgments about beauty.

Kant similarly concedes that taste is fundamentally subjective, that every judgment of beauty is based on a personal experience, and that such judgments vary from person to person.

By a principle of taste I mean a principle under the condition of which we could subsume the concept of the object, and thus infer, by means of a syllogism, that the object is beautiful. But that is absolutely impossible. For I must immediately feel the pleasure in the representation of the object, and of that I can be persuaded by no grounds of proof whatever. Although, as Hume says, all critics can reason more plausibly than cooks, yet the same fate awaits them. They cannot expect the determining ground of their judgment [to be derived] from the force of the proofs, but only from the reflection of the subject upon its own proper state of pleasure or pain. (Kant 1790, section 34)

But the claim that something is beautiful has more content merely than that it gives me pleasure. Something might please me for reasons entirely eccentric to myself: I might enjoy a bittersweet experience before a portrait of my grandmother, for example, or the architecture of a house might remind me of where I grew up. “No one cares about that,” says Kant (1790, section 7): no one begrudges me such experiences, but they make no claim to guide or correspond to the experiences of others.

By contrast, the judgment that something is beautiful, Kant argues, is a disinterested judgment. It does not respond to my idiosyncrasies, or at any rate if I am aware that it does, I will no longer take myself to be experiencing the beauty per se of the thing in question. Somewhat as in Hume—whose treatment Kant evidently had in mind—one must be unprejudiced to come to a genuine judgment of taste, and Kant gives that idea a very elaborate interpretation: the judgment must be made independently of the normal range of human desires—economic and sexual desires, for instance, which are examples of our ‘interests’ in this sense. If one is walking through a museum and admiring the paintings because they would be extremely expensive were they to come up for auction, for example, or wondering whether one could steal and fence them, one is not having an experience of the beauty of the paintings at all. One must focus on the form of the mental representation of the object for its own sake, as it is in itself. Kant summarizes this as the thought that insofar as one is having an experience of the beauty of something, one is indifferent to its existence. One takes pleasure, rather, in its sheer representation in one’s experience:

Now, when the question is whether something is beautiful, we do not want to know whether anything depends or can depend on the existence of the thing, either for myself or anyone else, but how we judge it by mere observation (intuition or reflection). … We easily see that, in saying it is beautiful , and in showing that I have taste, I am concerned, not with that in which I depend on the existence of the object, but with that which I make out of this representation in myself. Everyone must admit that a judgement about beauty, in which the least interest mingles, is very partial and is not a pure judgement of taste. (Kant 1790, section 2)

One important source of the concept of aesthetic disinterestedness is the Third Earl of Shaftesbury’s dialogue The Moralists , where the argument is framed in terms of a natural landscape: if you are looking at a beautiful valley primarily as a valuable real estate opportunity, you are not seeing it for its own sake, and cannot fully experience its beauty. If you are looking at a lovely woman and considering her as a possible sexual conquest, you are not able to experience her beauty in the fullest or purest sense; you are distracted from the form as represented in your experience. And Shaftesbury, too, localizes beauty to the representational capacity of the mind. (Shaftesbury 1738, 222)

For Kant, some beauties are dependent—relative to the sort of thing the object is—and others are free or absolute. A beautiful ox would be an ugly horse, but abstract textile designs, for example, may be beautiful without a reference group or “concept,” and flowers please whether or not we connect them to their practical purposes or functions in plant reproduction (Kant 1790, section 16). The idea in particular that free beauty is completely separated from practical use and that the experiencer of it is not concerned with the actual existence of the object leads Kant to conclude that absolute or free beauty is found in the form or design of the object, or as Clive Bell (1914) put it, in the arrangement of lines and colors (in the case of painting). By the time Bell writes in the early twentieth century, however, beauty is out of fashion in the arts, and Bell frames his view not in terms of beauty but in terms of a general formalist conception of aesthetic value.

Since in reaching a genuine judgment of taste one is aware that one is not responding to anything idiosyncratic in oneself, Kant asserts (1790, section 8), one will reach the conclusion that anyone similarly situated should have the same experience: that is, one will presume that there ought to be nothing to distinguish one person’s judgment from another’s (though in fact there may be). Built conceptually into the judgment of taste is the assertion that anyone similarly situated ought to have the same experience and reach the same judgment. Thus, built into judgments of taste is a ‘universalization’ somewhat analogous to the universalization that Kant associates with ethical judgments. In ethical judgments, however, the universalization is objective: if the judgment is true, then it is objectively the case that everyone ought to act on the maxim according to which one acts. In the case of aesthetic judgments, however, the judgment remains subjective, but necessarily contains the ‘demand’ that everyone should reach the same judgment. The judgment conceptually entails a claim to inter-subjective validity. This accounts for the fact that we do very often argue about judgments of taste, and that we find tastes that are different than our own defective.

The influence of this series of thoughts on philosophical aesthetics has been immense. One might mention related approaches taken by such figures as Schopenhauer (1818), Hanslick (1891), Bullough (1912), and Croce (1928), for example. A somewhat similar though more adamantly subjectivist line is taken by Santayana, who defines beauty as ‘objectified pleasure.’ The judgment of something that it is beautiful responds to the fact that it induces a certain sort of pleasure; but this pleasure is attributed to the object, as though the object itself were having subjective states.

We have now reached our definition of beauty, which, in the terms of our successive analysis and narrowing of the conception, is value positive, intrinsic, and objectified. Or, in less technical language, Beauty is pleasure regarded as the quality of a thing. … Beauty is a value, that is, it is not a perception of a matter of fact or of a relation: it is an emotion, an affection of our volitional and appreciative nature. An object cannot be beautiful if it can give pleasure to nobody: a beauty to which all men were forever indifferent is a contradiction in terms. … Beauty is therefore a positive value that is intrinsic; it is a pleasure. (Santayana 1896, 50–51)

It is much as though one were attributing malice to a balky object or device. The object causes certain frustrations and is then ascribed an agency or a kind of subjective agenda that would account for its causing those effects. Now though Santayana thought the experience of beauty could be profound or could even be the meaning of life, this account appears to make beauty a sort of mistake: one attributes subjective states (indeed, one’s own) to a thing which in many instances is not capable of having subjective states.

It is worth saying that Santayana’s treatment of the topic in The Sense of Beauty (1896) was the last major account offered in English for some time, possibly because, once beauty has been admitted to be entirely subjective, much less when it is held to rest on a sort of mistake, there seems little more to be said. What stuck from Hume’s and Kant’s treatments was the subjectivity, not the heroic attempts to temper it. If beauty is a subjective pleasure, it would seem to have no higher status than anything that entertains, amuses, or distracts; it seems odd or ridiculous to regard it as being comparable in importance to truth or justice, for example. And the twentieth century also abandoned beauty as the dominant goal of the arts, again in part because its trivialization in theory led artists to believe that they ought to pursue more urgent and more serious projects. More significantly, as we will see below, the political and economic associations of beauty with power tended to discredit the whole concept for much of the twentieth century. This decline is explored eloquently in Arthur Danto’s book The Abuse of Beauty (2003).

However, there was a revival of interest in beauty in something like the classical philosophical sense in both art and philosophy beginning in the 1990s, to some extent centered on the work of art critic Dave Hickey, who declared that “the issue of the 90s will be beauty” (see Hickey 1993), as well as feminist-oriented reconstruals or reappropriations of the concept (see Brand 2000, Irigaray 1993). Several theorists made new attempts to address the antinomy of taste. To some extent, such approaches echo G.E. Moore’s: “To say that a thing is beautiful is to say, not indeed that it is itself good, but that it is a necessary element in something which is: to prove that a thing is truly beautiful is to prove that a whole, to which it bears a particular relation as a part, is truly good” (Moore 1903, 201). One interpretation of this would be that what is fundamentally valuable is the situation in which the object and the person experiencing are both embedded; the value of beauty might include both features of the beautiful object and the pleasures of the experiencer.

Similarly, Crispin Sartwell in his book Six Names of Beauty (2004), attributes beauty neither exclusively to the subject nor to the object, but to the relation between them, and even more widely also to the situation or environment in which they are both embedded. He points out that when we attribute beauty to the night sky, for instance, we do not take ourselves simply to be reporting a state of pleasure in ourselves; we are turned outward toward it; we are celebrating the real world. On the other hand, if there were no perceivers capable of experiencing such things, there would be no beauty. Beauty, rather, emerges in situations in which subject and object are juxtaposed and connected.

Alexander Nehamas, in Only a Promise of Happiness (2007), characterizes beauty as an invitation to further experiences, a way that things invite us in, while also possibly fending us off. The beautiful object invites us to explore and interpret, but it also requires us to explore and interpret: beauty is not to be regarded as an instantaneously apprehensible feature of surface. And Nehamas, like Hume and Kant, though in another register, considers beauty to have an irreducibly social dimension. Beauty is something we share, or something we want to share, and shared experiences of beauty are particularly intense forms of communication. Thus, the experience of beauty is not primarily within the skull of the experiencer, but connects observers and objects such as works of art and literature in communities of appreciation.

Aesthetic judgment, I believe, never commands universal agreement, and neither a beautiful object nor a work of art ever engages a catholic community. Beauty creates smaller societies, no less important or serious because they are partial, and, from the point of view of its members, each one is orthodox—orthodox, however, without thinking of all others as heresies. … What is involved is less a matter of understanding and more a matter of hope, of establishing a community that centers around it—a community, to be sure, whose boundaries are constantly shifting and whose edges are never stable. (Nehamas 2007, 80–81)

2. Philosophical Conceptions of Beauty

Each of the views sketched below has many expressions, some of which may be incompatible with one another. In many or perhaps most of the actual formulations, elements of more than one such account are present. For example, Kant’s treatment of beauty in terms of disinterested pleasure has obvious elements of hedonism, while the ecstatic neo-Platonism of Plotinus includes not only the unity of the object, but also the fact that beauty calls out love or adoration. However, it is also worth remarking how divergent or even incompatible with one another many of these views are: for example, some philosophers associate beauty exclusively with use, others precisely with uselessness.

The art historian Heinrich Wölfflin gives a fundamental description of the classical conception of beauty, as embodied in Italian Renaissance painting and architecture:

The central idea of the Italian Renaissance is that of perfect proportion. In the human figure as in the edifice, this epoch strove to achieve the image of perfection at rest within itself. Every form developed to self-existent being, the whole freely co-ordinated: nothing but independently living parts…. In the system of a classic composition, the single parts, however firmly they may be rooted in the whole, maintain a certain independence. It is not the anarchy of primitive art: the part is conditioned by the whole, and yet does not cease to have its own life. For the spectator, that presupposes an articulation, a progress from part to part, which is a very different operation from perception as a whole. (Wölfflin 1932, 9–10, 15)

The classical conception is that beauty consists of an arrangement of integral parts into a coherent whole, according to proportion, harmony, symmetry, and similar notions. This is a primordial Western conception of beauty, and is embodied in classical and neo-classical architecture, sculpture, literature, and music wherever they appear. Aristotle says in the Poetics that “to be beautiful, a living creature, and every whole made up of parts, must … present a certain order in its arrangement of parts” (Aristotle, volume 2, 2322 [1450b34]). And in the Metaphysics : “The chief forms of beauty are order and symmetry and definiteness, which the mathematical sciences demonstrate in a special degree” (Aristotle, volume 2, 1705 [1078a36]). This view, as Aristotle implies, is sometimes boiled down to a mathematical formula, such as the golden section, but it need not be thought of in such strict terms. The conception is exemplified above all in such texts as Euclid’s Elements and such works of architecture as the Parthenon, and, again, by the Canon of the sculptor Polykleitos (late fifth/early fourth century BCE).

The Canon was not only a statue deigned to display perfect proportion, but a now-lost treatise on beauty. The physician Galen characterizes the text as specifying, for example, the proportions of “the finger to the finger, and of all the fingers to the metacarpus, and the wrist, and of all these to the forearm, and of the forearm to the arm, in fact of everything to everything…. For having taught us in that treatise all the symmetriae of the body, Polyclitus supported his treatise with a work, having made the statue of a man according to his treatise, and having called the statue itself, like the treatise, the Canon ” (quoted in Pollitt 1974, 15). It is important to note that the concept of ‘symmetry’ in classical texts is distinct from and richer than its current use to indicate bilateral mirroring. It also refers precisely to the sorts of harmonious and measurable proportions among the parts characteristic of objects that are beautiful in the classical sense, which carried also a moral weight. For example, in the Sophist (228c-e), Plato describes virtuous souls as symmetrical.

The ancient Roman architect Vitruvius epitomizes the classical conception in central, and extremely influential, formulations, both in its complexities and, appropriately enough, in its underlying unity:

Architecture consists of Order, which in Greek is called taxis , and arrangement, which the Greeks name diathesis , and of Proportion and Symmetry and Decor and Distribution which in the Greeks is called oeconomia . Order is the balanced adjustment of the details of the work separately, and as to the whole, the arrangement of the proportion with a view to a symmetrical result. Proportion implies a graceful semblance: the suitable display of details in their context. This is attained when the details of the work are of a height suitable to their breadth, of a breadth suitable to their length; in a word, when everything has a symmetrical correspondence. Symmetry also is the appropriate harmony arising out of the details of the work itself: the correspondence of each given detail to the form of the design as a whole. As in the human body, from cubit, foot, palm, inch and other small parts come the symmetric quality of eurhythmy. (Vitruvius, 26–27)

Aquinas, in a typically Aristotelian pluralist formulation, says that “There are three requirements for beauty. Firstly, integrity or perfection—for if something is impaired it is ugly. Then there is due proportion or consonance. And also clarity: whence things that are brightly coloured are called beautiful” ( Summa Theologica I, 39, 8).

Francis Hutcheson in the eighteenth century gives what may well be the clearest expression of the view: “What we call Beautiful in Objects, to speak in the Mathematical Style, seems to be in a compound Ratio of Uniformity and Variety; so that where the Uniformity of Bodys is equal, the Beauty is as the Variety; and where the Variety is equal, the Beauty is as the Uniformity” (Hutcheson 1725, 29). Indeed, proponents of the view often speak “in the Mathematical Style.” Hutcheson goes on to adduce mathematical formulae, and specifically the propositions of Euclid, as the most beautiful objects (in another echo of Aristotle), though he also rapturously praises nature, with its massive complexity underlain by universal physical laws as revealed, for example, by Newton. There is beauty, he says, “In the Knowledge of some great Principles, or universal Forces, from which innumerable Effects do flow. Such is Gravitation, in Sir Isaac Newton’s Scheme” (Hutcheson 1725, 38).

A very compelling series of refutations of and counter-examples to the idea that beauty can be a matter of any specific proportions between parts, and hence to the classical conception, is given by Edmund Burke in A Philosophical Enquiry into the Origin of our Ideas of the Beautiful and the Sublime :

Turning our eyes to the vegetable kingdom, we find nothing there so beautiful as flowers; but flowers are of every sort of shape, and every sort of disposition; they are turned and fashioned into an infinite variety of forms. … The rose is a large flower, yet it grows upon a small shrub; the flower of the apple is very small, and it grows upon a large tree; yet the rose and the apple blossom are both beautiful. … The swan, confessedly a beautiful bird, has a neck longer than the rest of its body, and but a very short tail; is this a beautiful proportion? we must allow that it is. But what shall we say of the peacock, who has comparatively but a short neck, with a tail longer than the neck and the rest of the body taken together? … There are some parts of the human body, that are observed to hold certain proportions to each other; but before it can be proved, that the efficient cause of beauty lies in these, it must be shewn, that wherever these are found exact, the person to whom they belong is beautiful. … For my part, I have at several times very carefully examined many of these proportions, and found them to hold very nearly, or altogether alike in many subjects, which were not only very different from one another, but where one has been very beautiful, and the other very remote from beauty. … You may assign any proportions you please to every part of the of the human body; and I undertake, that a painter shall observe them all, and notwithstanding produce, if he pleases, a very ugly figure. (Burke 1757, 84–89)

There are many ways to interpret Plato’s relation to classical aesthetics. The political system sketched in the Republic characterizes justice in terms of the relation of part and whole. But Plato was also no doubt a dissident in classical culture, and the account of beauty that is expressed specifically in the Symposium —perhaps the key Socratic text for neo-Platonism and for the idealist conception of beauty—expresses an aspiration toward beauty as perfect unity.

In the midst of a drinking party, Socrates recounts the teachings of his instructress, one Diotima, on matters of love. She connects the experience of beauty to the erotic or the desire to reproduce (Plato, 558–59 [ Symposium 206c–207e]). But the desire to reproduce is associated in turn with a desire for the immortal or eternal: “And why all this longing for propagation? Because this is the one deathless and eternal element in our mortality. And since we have agreed that the lover longs for the good to be his own forever, it follows that we are bound to long for immortality as well as for the good—which is to say that Love is a longing for immortality” (Plato, 559, [ Symposium 206e–207a]). What follows is, if not classical, at any rate classic:

The candidate for this initiation cannot, if his efforts are to be rewarded, begin too early to devote himself to the beauties of the body. First of all, if his preceptor instructs him as he should, he will fall in love with the beauty of one individual body, so that his passion may give life to noble discourse. Next he must consider how nearly related the beauty of any one body is to the beauty of any other, and he will see that if he is to devote himself to loveliness of form it will be absurd to deny that the beauty of each and every body is the same. Having reached this point, he must set himself to be the lover of every lovely body, and bring his passion for the one into due proportion by deeming it of little or no importance. Next he must grasp that the beauties of the body are as nothing to the beauties of the soul, so that wherever he meets with spiritual loveliness, even in the husk of an unlovely body, he will find it beautiful enough to fall in love with and cherish—and beautiful enough to quicken in his heart a longing for such discourse as tends toward the building of a noble nature. And from this he will be led to contemplate the beauty of laws and institutions. And when he discovers how every kind of beauty is akin to every other he will conclude that the beauty of the body is not, after all, of so great moment. … And so, when his prescribed devotion to boyish beauties has carried our candidate so far that the universal beauty dawns upon his inward sight, he is almost within reach of the final revelation. … Starting from individual beauties, the quest for universal beauty must find him mounting the heavenly ladder, stepping from rung to rung—that is, from one to two, and from two to every lovely body, and from bodily beauty to the beauty of institutions, from institutions to learning, and from learning in general to the special lore that pertains to nothing but the beautiful itself—until at last he comes to know what beauty is. And if, my dear Socrates, Diotima went on, man’s life is ever worth living, it is when he has attained this vision of the very soul of beauty. (Plato, 561–63 [ Symposium 210a–211d])

Beauty here is conceived—perhaps explicitly in contrast to the classical aesthetics of integral parts and coherent whole—as perfect unity, or indeed as the principle of unity itself.

Plotinus, as we have already seen, comes close to equating beauty with formedness per se: it is the source of unity among disparate things, and it is itself perfect unity. Plotinus specifically attacks what we have called the classical conception of beauty:

Almost everyone declares that the symmetry of parts towards each other and towards a whole, with, besides, a certain charm of colour, constitutes the beauty recognized by the eye, that in visible things, as indeed in all else, universally, the beautiful thing is essentially symmetrical, patterned. But think what this means. Only a compound can be beautiful, never anything devoid of parts; and only a whole; the several parts will have beauty, not in themselves, but only as working together to give a comely total. Yet beauty in an aggregate demands beauty in details; it cannot be constructed out of ugliness; its law must run throughout. All the loveliness of colour and even the light of the sun, being devoid of parts and so not beautiful by symmetry, must be ruled out of the realm of beauty. And how comes gold to be a beautiful thing? And lightning by night, and the stars, why are these so fair? In sounds also the simple must be proscribed, though often in a whole noble composition each several tone is delicious in itself. (Plotinus, 21 [ Ennead I,6])

Plotinus declares that fire is the most beautiful physical thing, “making ever upwards, the subtlest and sprightliest of all bodies, as very near to the unembodied. … Hence the splendour of its light, the splendour that belongs to the Idea” (Plotinus, 22 [ Ennead I,3]). For Plotinus as for Plato, all multiplicity must be immolated finally into unity, and all roads of inquiry and experience lead toward the Good/Beautiful/True/Divine.

This gave rise to a basically mystical vision of the beauty of God that, as Umberto Eco has argued, persisted alongside an anti-aesthetic asceticism throughout the Middle Ages: a delight in profusion that finally merges into a single spiritual unity. In the sixth century, Pseudo-Dionysius the Areopagite characterized the whole of creation as yearning toward God; the universe is called into being by love of God as beauty (Pseudo-Dionysius, 4.7; see Kirwan 1999, 29). Sensual/aesthetic pleasures could be considered the expressions of the immense, beautiful profusion of God and our ravishment thereby. Eco quotes Suger, Abbot of St Denis in the twelfth century, describing a richly-appointed church:

Thus, when—out of my delight in the beauty of the house of God—the loveliness of the many-colored gems has called me away from external cares, and worthy meditation has induced me to reflect, transferring that which is material to that which is immaterial, on the diversity of the sacred virtues: then it seems to me that I see myself dwelling, as it were, in some strange region of the universe which neither exists entirely in the slime of the earth nor entirely in the purity of Heaven; and that, by the grace of God, I can be transported from this inferior to that higher world in an anagogical manner. (Eco 1959, 14)

This conception has had many expressions in the modern era, including in such figures as Shaftesbury, Schiller, and Hegel, according to whom the aesthetic or the experience of art and beauty is a primary bridge (or to use the Platonic image, stairway or ladder) between the material and the spiritual. For Shaftesbury, there are three levels of beauty: what God makes (nature); what human beings make from nature or what is transformed by human intelligence (art, for example); and finally, the intelligence that makes even these artists (that is, God). Shaftesbury’s character Theocles describes “the third order of beauty,”

which forms not only such as we call mere forms but even the forms which form. For we ourselves are notable architects in matter, and can show lifeless bodies brought into form, and fashioned by our own hands, but that which fashions even minds themselves, contains in itself all the beauties fashioned by those minds, and is consequently the principle, source, and fountain of all beauty. … Whatever appears in our second order of forms, or whatever is derived or produced from thence, all this is eminently, principally, and originally in this last order of supreme and sovereign beauty. … Thus architecture, music, and all which is of human invention, resolves itself into this last order. (Shaftesbury 1738, 228–29)

Schiller’s expression of a similar series of thoughts was fundamentally influential on the conceptions of beauty developed within German Idealism:

The pre-rational concept of Beauty, if such a thing be adduced, can be drawn from no actual case—rather does itself correct and guide our judgement concerning every actual case; it must therefore be sought along the path of abstraction, and it can be inferred simply from the possibility of a nature that is both sensuous and rational; in a word, Beauty must be exhibited as a necessary condition of humanity. Beauty … makes of man a whole, complete in himself. (1795, 59–60, 86)

For Schiller, beauty or play or art (he uses the words, rather cavalierly, almost interchangeably) performs the process of integrating or rendering compatible the natural and the spiritual, or the sensuous and the rational: only in such a state of integration are we—who exist simultaneously on both these levels—free. This is quite similar to Plato’s ‘ladder’: beauty as a way to ascend to the abstract or spiritual. But Schiller—though this is at times unclear—is more concerned with integrating the realms of nature and spirit than with transcending the level of physical reality entirely, a la Plato. It is beauty and art that performs this integration.

In this and in other ways—including in the tripartite dialectical structure of his account—Schiller strikingly anticipates Hegel, who writes as follows.

The philosophical Concept of the beautiful, to indicate its true nature at least in a preliminary way, must contain, reconciled within itself, both the extremes which have been mentioned [the ideal and the empirical] because it unites metaphysical universality with real particularity. (Hegel 1835, 22)

Beauty, we might say, or artistic beauty at any rate, is a route from the sensuous and particular to the Absolute and to freedom, from finitude to the infinite, formulations that—while they are influenced by Schiller—strikingly recall Shaftesbury, Plotinus, and Plato.

Hegel, who associates beauty and art with mind and spirit, holds with Shaftesbury that the beauty of art is higher than the beauty of nature, on the grounds that, as Hegel puts it, “the beauty of art is born of the spirit and born again ” (Hegel 1835, 2). That is, the natural world is born of God, but the beauty of art transforms that material again by the spirit of the artist. This idea reaches is apogee in Benedetto Croce, who very nearly denies that nature can ever be beautiful, or at any rate asserts that the beauty of nature is a reflection of the beauty of art. “The real meaning of ‘natural beauty’ is that certain persons, things, places are, by the effect which they exert upon one, comparable with poetry, painting, sculpture, and the other arts” (Croce 1928, 230).

Edmund Burke, expressing an ancient tradition, writes that, “by beauty I mean, that quality or those qualities in bodies, by which they cause love, or some passion similar to it” (Burke 1757, 83). As we have seen, in almost all treatments of beauty, even the most apparently object or objectively-oriented, there is a moment in which the subjective qualities of the experience of beauty are emphasized: rhapsodically, perhaps, or in terms of pleasure or ataraxia , as in Schopenhauer. For example, we have already seen Plotinus, for whom beauty is certainly not subjective, describe the experience of beauty ecstatically. In the idealist tradition, the human soul, as it were, recognizes in beauty its true origin and destiny. Among the Greeks, the connection of beauty with love is proverbial from early myth, and Aphrodite the goddess of love won the Judgment of Paris by promising Paris the most beautiful woman in the world.

There is an historical connection between idealist accounts of beauty and those that connect it to love and longing, though there would seem to be no entailment either way. We have Sappho’s famous fragment 16: “Some say thronging cavalry, some say foot soldiers, others call a fleet the most beautiful sights the dark world offers, but I say it’s whatever you love best” (Sappho, 16). (Indeed, at Phaedrus 236c, Socrates appears to defer to “the fair Sappho” as having had greater insight than himself on love [Plato, 483].)

Plato’s discussions of beauty in the Symposium and the Phaedrus occur in the context of the theme of erotic love. In the former, love is portrayed as the ‘child’ of poverty and plenty. “Nor is he delicate and lovely as most of us believe, but harsh and arid, barefoot and homeless” (Plato, 556 [Symposium 203b–d]). Love is portrayed as a lack or absence that seeks its own fulfillment in beauty: a picture of mortality as an infinite longing. Love is always in a state of lack and hence of desire: the desire to possess the beautiful. Then if this state of infinite longing could be trained on the truth, we would have a path to wisdom. The basic idea has been recovered many times, for example by the Romantics. It fueled the cult of idealized or courtly love through the Middle Ages, in which the beloved became a symbol of the infinite.

Recent work on the theory of beauty has revived this idea, and turning away from pleasure has turned toward love or longing (which are not necessarily entirely pleasurable experiences) as the experiential correlate of beauty. Both Sartwell and Nehamas use Sappho’s fragment 16 as an epigraph. Sartwell defines beauty as “the object of longing” and characterizes longing as intense and unfulfilled desire. He calls it a fundamental condition of a finite being in time, where we are always in the process of losing whatever we have, and are thus irremediably in a state of longing. And Nehamas writes that “I think of beauty as the emblem of what we lack, the mark of an art that speaks to our desire. … Beautiful things don’t stand aloof, but direct our attention and our desire to everything else we must learn or acquire in order to understand and possess, and they quicken the sense of life, giving it new shape and direction” (Nehamas 2007, 77).

Thinkers of the 18 th century—many of them oriented toward empiricism—accounted for beauty in terms of pleasure. The Italian historian Ludovico Antonio Muratori, for example, in quite a typical formulation, says that “By beautiful we generally understand whatever, when seen, heard, or understood, delights, pleases, and ravishes us by causing within us agreeable sensations” (see Carritt 1931, 60). In Hutcheson it is not clear whether we ought to conceive beauty primarily in terms of classical formal elements or in terms of the viewer’s pleasurable response. He begins the Inquiry Into the Original of Our Ideas of Beauty and Virtue with a discussion of pleasure. And he appears to assert that objects which instantiate his ‘compound ratio of uniformity and variety’ are peculiarly or necessarily capable of producing pleasure:

The only Pleasure of sense, which our Philosophers seem to consider, is that which accompanys the simple Ideas of Sensation; But there are vastly greater Pleasures in those complex Ideas of objects, which obtain the Names of Beautiful, Regular, Harmonious. Thus every one acknowledges he is more delighted with a fine Face, a just Picture, than with the View of any one Colour, were it as strong and lively as possible; and more pleased with a Prospect of the Sun arising among settled Clouds, and colouring their Edges, with a starry Hemisphere, a fine Landskip, a regular Building, than with a clear blue Sky, a smooth Sea, or a large open Plain, not diversify’d by Woods, Hills, Waters, Buildings: And yet even these latter Appearances are not quite simple. So in Musick, the Pleasure of fine Composition is incomparably greater than that of any one Note, how sweet, full, or swelling soever. (Hutcheson 1725, 22)

When Hutcheson then goes on to describe ‘original or absolute beauty,’ he does it, as we have seen, in terms of the qualities of the beautiful thing (a “compound ratio” of uniformity and variety), and yet throughout, he insists that beauty is centered in the human experience of pleasure. But of course the idea of pleasure could come apart from Hutcheson’s particular aesthetic preferences, which are poised precisely opposite Plotinus’s, for example. That we find pleasure in a symmetrical rather than an asymmetrical building (if we do) is contingent. But that beauty is connected to pleasure appears, according to Hutcheson, to be necessary, and the pleasure which is the locus of beauty itself has ideas rather than things as its objects.

Hume writes in a similar vein in the Treatise of Human Nature :

Beauty is such an order and construction of parts as, either by the primary constitution of our nature, by custom, or by caprice, is fitted to give a pleasure and satisfaction to the soul. … Pleasure and pain, therefore, are not only necessary attendants of beauty and deformity, but constitute their very essence. (Hume 1740, 299)

Though this appears ambiguous as between locating the beauty in the pleasure or in the impression or idea that causes it, Hume is soon talking about the ‘sentiment of beauty,’ where sentiment is, roughly, a pleasurable or painful response to impressions or ideas, though the experience of beauty is a matter of cultivated or delicate pleasures. Indeed, by the time of Kant’s Third Critique and after that for perhaps two centuries, the direct connection of beauty to pleasure is taken as a commonplace, to the point where thinkers are frequently identifying beauty as a certain sort of pleasure. Santayana, for example, as we have seen, while still gesturing in the direction of the object or experience that causes pleasure, emphatically identifies beauty as a certain sort of pleasure.

One result of this approach to beauty—or perhaps an extreme expression of this orientation—is the assertion of the positivists that words such as ‘beauty’ are meaningless or without cognitive content, or are mere expressions of subjective approval. Hume and Kant were no sooner declaring beauty to be a matter of sentiment or pleasure and therefore to be subjective than they were trying to ameliorate the sting, largely by emphasizing critical consensus. But once this fundamental admission is made, any consensus seems contingent. Another way to formulate this is that it appears to certain thinkers after Hume and Kant that there can be no reasons to prefer the consensus to a counter-consensus assessment. A.J. Ayer writes:

Such aesthetic words as ‘beautiful’ and ‘hideous’ are employed … not to make statements of fact, but simply to express certain feelings and evoke a certain response. It follows…that there is no sense attributing objective validity to aesthetic judgments, and no possibility of arguing about questions of value in aesthetics. (Ayer 1952, 113)

All meaningful claims either concern the meaning of terms or are empirical, in which case they are meaningful because observations could confirm or disconfirm them. ‘That song is beautiful’ has neither status, and hence has no empirical or conceptual content. It merely expresses a positive attitude of a particular viewer; it is an expression of pleasure, like a satisfied sigh. The question of beauty is not a genuine question, and we can safely leave it behind or alone. Most twentieth-century philosophers did just that.

Philosophers in the Kantian tradition identify the experience of beauty with disinterested pleasure, psychical distance, and the like, and contrast the aesthetic with the practical. “ Taste is the faculty of judging an object or mode of representing it by an entirely disinterested satisfaction or dissatisfaction. The object of such satisfaction is called beautiful ” (Kant 1790, 45). Edward Bullough distinguishes the beautiful from the merely agreeable on the grounds that the former requires a distance from practical concerns: “Distance is produced in the first instance by putting the phenomenon, so to speak, out of gear with our practical, actual self; by allowing it to stand outside the context of our personal needs and ends” (Bullough 1912, 244).

On the other hand, many philosophers have gone in the opposite direction and have identified beauty with suitedness to use. ‘Beauty’ is perhaps one of the few terms that could plausibly sustain such entirely opposed interpretations.

According to Diogenes Laertius, the ancient hedonist Aristippus of Cyrene took a rather direct approach.

Is not then, also, a beautiful woman useful in proportion as she is beautiful; and a boy and a youth useful in proportion to their beauty? Well then, a handsome boy and a handsome youth must be useful exactly in proportion as they are handsome. Now the use of beauty is, to be embraced. If then a man embraces a woman just as it is useful that he should, he does not do wrong; nor, again, will he be doing wrong in employing beauty for the purposes for which it is useful. (Diogenes Laertius, 94)

In some ways, Aristippus is portrayed parodically: as the very worst of the sophists, though supposedly a follower of Socrates. And yet the idea of beauty as suitedness to use finds expression in a number of thinkers. Xenophon’s Memorabilia puts the view in the mouth of Socrates, with Aristippus as interlocutor:

Socrates : In short everything which we use is considered both good and beautiful from the same point of view, namely its use. Aristippus : Why then, is a dung-basket a beautiful thing? Socrates : Of course it is, and a golden shield is ugly, if the one be beautifully fitted to its purpose and the other ill. (Xenophon, Book III, viii)

Berkeley expresses a similar view in his dialogue Alciphron , though he begins with the hedonist conception: “Every one knows that beauty is what pleases” (Berkeley 1732, 174; see Carritt 1931, 75). But it pleases for reasons of usefulness. Thus, as Xenophon suggests, on this view, things are beautiful only in relation to the uses for which they are intended or to which they are properly applied. The proper proportions of an object depend on what kind of object it is and, again, a beautiful car might make an ugly tractor. “The parts, therefore, in true proportions, must be so related, and adjusted to one another, as they may best conspire to the use and operation of the whole” (Berkeley 1732, 174–75; see Carritt 1931, 76). One result of this is that, though beauty remains tied to pleasure, it is not an immediate sensible experience. It essentially requires intellection and practical activity: one has to know the use of a thing and assess its suitedness to that use.

This treatment of beauty is often used, for example, to criticize the distinction between fine art and craft, and it avoids sheer philistinism by enriching the concept of ‘use,’ so that it might encompass not only performing a practical task, but performing it especially well or with an especial satisfaction. Ananda Coomaraswamy, the Ceylonese-British scholar of Indian and European medieval arts, adds that a beautiful work of art or craft expresses as well as serves its purpose.

A cathedral is not as such more beautiful than an airplane, … a hymn than a mathematical equation. … A well-made sword is not less beautiful than a well-made scalpel, though one is used to slay, the other to heal. Works of art are only good or bad, beautiful or ugly in themselves, to the extent that they are or are not well and truly made, that is, do or do not express, or do or do not serve their purpose. (Coomaraswamy 1977, 75)

Roger Scruton, in his book Beauty (2009) returns to a modified Kantianism with regard to both beauty and sublimity, enriched by many and varied examples. “We call something beautiful,” writes Scruton, “when we gain pleasure from contemplating it as an individual object, for its own sake, and in its presented form ” (Scruton 2009, 26). Despite the Kantian framework, Scruton, like Sartwell and Nehamas, throws the subjective/objective distinction into question. He compares experiencing a beautiful thing to a kiss. To kiss someone that one loves is not merely to place one body part on another, “but to touch the other person in his very self. Hence the kiss is compromising – it is a move from one self toward another, and a summoning of the other into the surface of his being” (Scruton 2009, 48). This, Scruton says, is a profound pleasure.

3. The Politics of Beauty

Kissing sounds nice, but some kisses are coerced, some pleasures obtained at a cost to other people. The political associations of beauty over the last few centuries have been remarkably various and remarkably problematic, particularly in connection with race and gender, but in other aspects as well. This perhaps helps account for the neglect of the issue in early-to-mid twentieth-century philosophy as well as its growth late in the century as an issue in social justice movements, and subsequently in social-justice oriented philosophy.

The French revolutionaries of 1789 associated beauty with the French aristocracy and with the Rococo style of the French royal family, as in the paintings of Fragonard: hedonist expressions of wealth and decadence, every inch filled with decorative motifs. Beauty itself became subject to a moral and political critique, or even to direct destruction, with political motivations (see Levey 1985). And by the early 20th century, beauty was particularly associated with capitalism (ironically enough, considering the ugliness of the poverty and environmental destruction it often induced). At times even great art appeared to be dedicated mainly to furnishing the homes of rich people, with the effect of concealing the suffering they were inflicting. In response, many anti-capitalists, including many Marxists, appeared to repudiate beauty entirely. And in the aesthetic politics of Nazism, reflected for example in the films of Leni Riefenstahl, the association of beauty and right wing politics was sealed to devastating effect (see Spotts 2003).

Early on in his authorship, Karl Marx could hint that the experience of beauty distinguishes human beings from all other animals. An animal “produces only under the dominion of immediate physical need, whilst man produces even when he is free from physical need and only truly produces in freedom therefrom. Man therefore also forms objects in accordance with the laws of beauty” (Marx 1844, 76). But later Marx appeared to conceive beauty as “superstructure” or “ideology” disguising the material conditions of production. Perhaps, however, he also anticipated the emergence of new beauties, available to all both as makers and appreciators, in socialism.

Capitalism, of course, uses beauty – at times with complete self-consciousness – to manipulate people into buying things. Many Marxists believed that the arts must be turned from providing fripperies to the privileged or advertising that helps make them wealthier to showing the dark realities of capitalism (as in the American Ashcan school, for example), and articulating an inspiring Communist future. Stalinist socialist realism consciously repudiates the aestheticized beauties of post-impressionist and abstract painting, for example. It has urgent social tasks to perform (see Bown and Lanfranconi 2012). But the critique tended at times to generalize to all sorts of beauty: as luxury, as seduction, as disguise and oppression. The artist Max Ernst (1891–1976), having survived the First World War, wrote this about the radical artists of the early century: “To us, Dada was above all a moral reaction. Our rage aimed at total subversion. A horrible futile war had robbed us of five years of our existence. We had experienced the collapse into ridicule and shame of everything represented to us as just, true, and beautiful. My works of that period were not meant to attract, but to make people scream” (quoted in Danto 2003, 49).

Theodor Adorno, in his book Aesthetic Theory , wrote that one symptom of oppression is that oppressed groups and cultures are regarded as uncouth, dirty, ragged; in short, that poverty is ugly. It is art’s obligation, he wrote, to show this ugliness, imposed on people by an unjust system, clearly and without flinching, rather to distract people by beauty from the brutal realities of capitalism. “Art must take up the cause of what is proscribed as ugly, though no longer to integrate or mitigate it or reconcile it with its own existence,” Adorno wrote. “Rather, in the ugly, art must denounce the world that creates and reproduces the ugly in its own image” (Adorno 1970, 48–9).

The political entanglements of beauty tend to throw into question various of the traditional theories. For example, the purity and transcendence associated with the essence of beauty in the realm of the Forms seems irrelevant, as beauty shows its centrality to politics and commerce, to concrete dimensions of oppression. The austere formalism of the classical conception, for example, seems neither here nor there when the building process is brutally exploitative.

As we have seen, the association of beauty with the erotic is proverbial from Sappho and is emphasized relentlessly by figures such as Burke and Nehamas. But the erotic is not a neutral or universal site, and we need to ask whose sexuality is in play in the history of beauty, with what effects. This history, particularly in the West and as many feminist theorists and historians have emphasized, is associated with the objectification and exploitation of women. Feminists beginning in the 19th century gave fundamental critiques of the use of beauty as a set of norms to control women’s bodies or to constrain their self-presentation and even their self-image in profound and disabling ways (see Wollstonecraft 1792, Grimké 1837).

In patriarchal society, as Catherine MacKinnon puts it, the content of sexuality “is the gaze that constructs women as objects for male pleasure. I draw on pornography for its form and content,” she continues, describing her treatment of the subject, “for the gaze that eroticizes the despised, the demeaned, the accessible, the there-to-be-used, the servile, the child-like, the passive, and the animal. That is the content of sexuality that defines gender female in this culture, and visual thingification is its method” (MacKinnon 1987, 53–4). Laura Mulvey, in “Visual Pleasure and Narrative Cinema,” reaches one variety of radical critique and conclusion: “It is said that analyzing pleasure, or beauty, destroys it. That is the intention of this article” (Mulvey 1975, 60).

Mulvey’s psychoanalytic treatment was focused on the scopophilia (a Freudian term denoting neurotic sexual pleasure configured around looking) of Hollywood films, in which men appeared as protagonists, and women as decorative or sexual objects for the pleasure of the male characters and male audience-members. She locates beauty “at the heart of our oppression.” And she appears to have a hedonist conception of it: beauty engenders pleasure. But some pleasures, like some kisses, are sadistic or exploitative at the individual and at the societal level. Art historians such as Linda Nochlin (1988) and Griselda Pollock (1987) brought such insights to bear on the history of painting, for example, where the scopophilia is all too evident in famous nudes such as Titian’s Venus of Urbino or Velazquez’s Rokeby Venus , which a feminist slashed with knife in 1914 because “she didn’t like the way men gawked at it”.

Feminists such as Naomi Wolf in her book The Beauty Myth , generalized such insights into a critique of the ways women are represented throughout Western popular culture: in advertising, for example, or music videos. Such practices have the effect of constraining women to certain acceptable ways of presenting themselves publicly, which in turn greatly constrains how seriously they are taken, or how much of themselves they can express in public space. As have many other commentators, Wolf connects the representation of the “beautiful” female body, in Western high art but especially in popular culture, to eating disorders and many other self-destructive behaviors, and indicates that a real overturning of gender hierarchy will require deeply re-construing the concept of beauty.

The demand on women to create a beautiful self-presentation by male standards, Wolf argues, fundamentally compromises women’s action and self-understanding, and makes fully human relationships between men and women difficult or impossible. In this Wolf follows, among others, the French thinker Luce Irigaray, who wrote that “Female beauty is always considered as finery ultimately designed to attract the other into the self. It is almost never perceived as a manifestation of, an appearance of, a phenomenon expressive of interiority – whether of love, of thought, of flesh. We look at ourselves in the mirror to please someone , rarely to interrogate the state of our body or our spirit, rarely for ourselves and in search of our becoming” (quoted in Robinson 2000, 230).

“Sex is held hostage by beauty,” Wolf remarks, “and its ransom terms are engraved in girls’ minds early and deeply with instruments more beautiful that those which advertisers or pornographers know how to use: literature, poetry, painting, and film” (Wolf 1991f, 157).

Early in the 20th century, black nationalist leader Marcus Garvey (1887–1940) described European or white standards of beauty as a deep dimension of oppression, quite similarly to the way Naomi Wolf describes beauty standards for women. These standards are relentlessly reinforced in authoritative images, but they are incompatible with black skin, black bodies, and also traditional African ways of understanding human beauty. White standards of beauty, Garvey argued, devalue black bodies. The truly oppressive aspects of such norms can be seen in the way they induce self-alienation, as Wolf argues with regard to sexualized images of women. “Some of us in America, the West Indies, and Africa believe that the nearer we approach the white man in color, the greater our social standing and privilege,” he wrote (Garvey 1925 [1986], 56). He condemns skin bleaching and hair straightening as ways that black people are taught to devalue themselves by white standards of beauty. And he connects such standards to ‘colorism’ or prejudice in the African-American community toward darker-skinned black people.

Such observations suggest some of the strengths of cultural relativism as opposed to subjectivism or universalism: standards of beauty appear in this picture not to be idiosyncratic to individuals, nor to be universal among all people, but to be tied to group identities and to oppression and resistance.

In his autobiography, Malcolm X (1925–1965), whose parents were activists in the Garvey movement, describes ‘conking’ or straightening his hair with lye products as a young man. “This was my first really big step toward self-degradation,” he writes, “when I endured all of that pain, literally burning my flesh to have it look like a white man’s hair. I had joined that multitude of Negro men and women in America who are brainwashed into believing that black people are ‘inferior’ – and white people ‘superior’ – that they will even violate and mutilate their God-created bodies to try to look ‘pretty’ by white standards” (X 1964, 56–7). For both Marcus Garvey and Malcolm X, a key moment in the transformation of racial oppression would be the affirmation of standards of black beauty that are not parasitic on white standards, and hence not directly involved in racial oppression. This was systematically developed after Malcolm’s death in the “natural” hairstyles and African fabrics in the Black Power movement. Certainly, people have many motivations for straightening or coloring their hair, for example. But the critical examination of the racial content of beauty norms was a key moment in black liberation movements, many of which, around 1970, coalesced around the slogan Black is beautiful . These are critiques of specific standards of beauty; they are also tributes to beauty’s power.

Imposing standards of beauty on non-Western cultures, and, in particular, misappropriating standards of beauty and beautiful objects from them, formed one of the most complex strategies of colonialism. Edward Said famously termed this dynamic “orientalism.” Novelists such as Nerval and Kipling and painters such as Delacroix and Picasso, he argued, used motifs drawn from Asian and African cultures, treating them as “exotic” insertions into Western arts. Such writers and artists might even have understood themselves to be celebrating the cultures they depicted in pictures of Arabian warriors or African masks. But they used this imagery precisely in relation to Western art history. They distorted what they appropriated.

“Being a White Man, in short,” writes Said, “was a very concrete manner of being-in-the-world, a way of taking hold of reality, language, and thought. It made a specific style possible” (Said 1978, 227). This style might be encapsulated in the outfits of colonial governors, and their mansions. But it was also typified by an appropriative “appreciation” of “savage” arts and “exotic” beauties, which were of course not savage or exotic in their own context. Even in cases where the beauty of such objects was celebrated, the appreciation was mixed with condescension and misapprehension, and also associated with stripping colonial possessions of their most beautiful objects (as Europeans understood beauty)—shipping them back to the British Museum, for example. Now some beautiful objects, looted in colonialism, are being returned to their points of origin (see Matthes 2017), but many others remain in dispute.

However, if beauty has been an element in various forms of oppression, it has also been an element in various forms of resistance, as the slogan “Black is beautiful” suggests. The most compelling responses to oppressive standards and uses of beauty have given rise to what might be termed counter-beauties . When fighting discrimination against people with disabilities, for example, one may decry the oppressive norms that regard disabled bodies as ugly and leave it at that. Or one might try to discover what new standards of beauty and subversive pleasures might arise in the attempt to regard disabled bodies as beautiful (Siebers 2005). For that matter, one might uncover the ways that non-normative bodies and subversive pleasures actually do fulfill various traditional criteria of beauty. Indeed, for some decades there has been a disability arts movement, often associated with artists such as Christine Sun Kim and Riva Lehrer, which tries to do just that (see Siebers 2005).

The exploration of beauty, in some ways flipping it over into an instrument of feminist resistance, or showing directly how women’s beauty could be experienced outside of patriarchy, has been a theme of much art by women of the 20th and 21st centuries. Georgia O’Keeffe’s flowers and Judy Chicago’s “Dinner Party” place settings undertake to absorb and reverse the objectifying gaze. The exploration of the meaning of the female body in the work of performance artists such as Hannah Wilke, Karen Finley, and Orlan, tries both to explore the objectification of the female body and to affirm women’s experience in its concrete realities from the inside: to make of it emphatically a subject rather than an object (see Striff 1997).

“Beauty seems in need of rehabilitation today as an impulse that can be as liberating as it has been deemed enslaving,” wrote philosopher Peg Zeglin Brand in 2000. “Confident young women today pack their closets with mini-skirts and sensible suits. Young female artists toy with feminine stereotypes in ways that make their feminist elders uncomfortable. They recognize that … beauty can be a double-edged sword – as capable of destabilizing rigid conventions and restrictive behavioral models as it is of reinforcing them” (Brand 2000, xv). Indeed, vernacular norms of beauty as expressed in media and advertising have shifted in virtue of the feminist and anti-racist attacks on dominant body norms, as the concept’s long journey continues.

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How to cite this entry . Preview the PDF version of this entry at the Friends of the SEP Society . Look up topics and thinkers related to this entry at the Internet Philosophy Ontology Project (InPhO). Enhanced bibliography for this entry at PhilPapers , with links to its database.

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aesthetics: British, in the 18th century | aesthetics: French, in the 18th century | Aquinas, Thomas | Aristotle | Ayer, Alfred Jules | Burke, Edmund | Croce, Benedetto: aesthetics | feminist philosophy, interventions: aesthetics | hedonism | Hegel, Georg Wilhelm Friedrich: aesthetics | Hume, David: aesthetics | Kant, Immanuel: aesthetics and teleology | Kant, Immanuel: theory of judgment | medieval philosophy | Neoplatonism | Plato: aesthetics | Plotinus | Santayana, George | Schiller, Friedrich | Schopenhauer, Arthur | Scottish Philosophy: in the 18th Century | Shaftesbury, Lord [Anthony Ashley Cooper, 3rd Earl of]

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PTE Academic Exam Practice Material

Essay on Nature

Read a short essay on nature in English language for class 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11 and 12. How we can describe essay on beauty of nature or essay on nature conservation or essay on importance of nature. Along with essay writers from pteexampreparation.com, we would like to represent you the following essay sample.

Essay on Nature

Essay on Nature 300 words

Nature is the most divine creation of god around us, it is considered an integral part of mankind. Nature has bestowed us with water, air, plants and much more to make us survive on this planet. But are we paying back to our mother nature? The answer is no as we have not only failed in paying back but also exploited nature to a great extent.

Nature provides beauty all around, it’s the nature that makes the surroundings attractive and worthy to live in. Human life is possible because of nature and its various boons. Mother nature is a gift of God and must be respected just like we respect and love our mothers.

Nature is a unique blessing to us, everything created by God on this earth has some purpose and order in life. The radiant rivers, the shining valleys, huge mountains, blue oceans, white sky, the sun, the rain, the moon and the list is non-ending. All these things have some order and serve a purpose in life. Despite all this, we are still doing activities that are not only harmful but can cause real devastation to nature all around.

There are numerous creatures on this planet and every single creature serves a defined purpose in the ecosystem. Humans, on the other hand, are trying to disturb this ecosystem by entering into the places and things they are not supposed to enter. They are creating an imbalance in the ecological cycle of the environment and thus creating havoc all around.

Everything we do is dependent on nature. In fact, our life is possible because of this beautiful nature. We depend on water, air, fire for our survival and then again we are exploiting the same things we completely rely on.

We, humans, are continuously abusing our mother nature and are not even thinking about its consequences. Development is a slow process and destruction can be done in a wink of an eye.

It’s the need of an hour to conserve our nature so that our generations can also enjoy and cherish in the beauties of nature. We need to create awareness among people to stop this continuous process of destruction. Human activities must be done in a sustainable way to ensure the development of a nation without causing any harm to our mother nature. It is essential to understand that we should not take advantage of some of the finest blessings of god-nature.

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English Summary

The Beauty of Nature Essay in English for Students and Children

Byron said, “I love not man the less but nature more”.

The poets are the lovers of nature. The countless objects of nature or things of beauty that are a joy forever. God is the Artist and nature is His art.

“The heavens declare the glory of God and the firmament showeth His handiwork” Bible

The mountains and the oceans the sky and the sea, the sun the moon and the stars, the flowers, and the meadows, the chirping of the birds and the music of the waters–all these possess an unearthly beauty.

Anyone who is blind to such beauties of nature and deaf to her music must be dead in the soul. The visible shapes of nature, her sights and sounds speak to the poets the language of love and beauty.

William Wordsworth the greatest poet of nature says, “my heart leaps up when I behold a rainbow in the sky”.

The beauties of Kashmir beggar description. The clear cool waters, the gentle breezes, the coiling rivers, the bubbling springs, the freshwater lakes and the snow-clad mountains of Kashmir are very charming indeed. While praising the beauty of Kashmir a poet has aptly said:

Baron loved the stormy ocean and called it the Image of God  and the Throne of the Almighty . The waves of the ocean Sing divine music. When the full moon sketches her silvery beams and shines on the earth, there is a commotion in the sea and mountainous tides rise high as if to touch the moon.

The moon is a pale maiden and the ocean is her lover. The moonlit nights are the image of beauty. And in the dark nights, the stars shine like sleepless sentinels (watchmen) of the night. Byron said, “Ye stars! Which are the poetry of heaven.”

The snow-clad mountains with the neighbour, with the sky, are the greatest sight. Torrential rains wash them, white snow falls on their forehead, the breezes and storm blow Cross them.

Nature has been very generous to both Kashmir and Switzerland. In springtime there, Meadows are gay with the lowest flowers and streams sleep and dance merrily as they flow down their valleys.

Painters make pictures of the grassy fields, streams, and flowering trees. Those works of art are sold at high prices. But come out! Here are the beauteous sights of nature, more beautiful than any painting, which is, after all, imitation.

Nature is the best painter in technicolour. The beauty of the sunset beggars description. And dawn has inspired the poets to write poetry that moves the words of millions.

The butterfly with its silken wings flits from flower to flower. At night the glow-worm lights its lamp among the flowers and grass. The nightingale pours about her heart in sweet, sad music, while the skylark sings ecstatic lyrics. Nature is love, nature is beauty, nature is a joy.


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Essay on “Beauties of Nature” Complete Essay for Class 10, Class 12 and Graduation and other classes.

Beauties of Nature

Nature—A Storehouse of Joy

Essay No. 01

                Nature never did betray                 The heart that loved her; lis her privilege                 Through all the years of this our life, to lead                                                                                        From joy to joy                                                                                                                     —- Wordsworth

                Wordsworth, a staunch lover of nature, believed that nature is a storehouse of joy and pleasure.  It is an everflowing fountain of divine beauty.  It is a friend, a guide, and a nurse to man.  It has a healing touch of its own.  A ruined body or a broken mind finds a lot of comfort and consolation in the lap of nature.  It provides a man with fresh energy and new vigor.  It is a manifestation of the divine.

                Nature is full of beauties and blessings for humanity.  The flowing rivulets, sounding cataracts, the dancing winds, the smiling flowers, and the lofty mountains are only some of these beauties.  Nature can fill our lives with real joy, goodness, and happiness.  To a lover of nature, every object, of nature is as much living as any human being.  That is why Wordsworth wrote: “there is a spirit in the woods.”

                Beauties of nature are unlimited.  But unfortunately, the modern man is too much engrossed in worldly pursuits.  He is too busy to discover the beauties of nature.  He has not time to listen to the singing of the birds, to watch the clouds moving majestically across the sky, or to play with the dancing daffodils.  He does not look at the starry heavens; he is dead to the beauty of a rainbow in the sky.  He has sold his heart away to Mammon the god of wealth. Wordsworth rightly laments:

                “The world is too much with us.  Late and soon,                 Getting and spending, we lay waste our powers.                 Little do we see in Nature that is ours.”

                We must open our inward eyes and ears.  Then only can we enjoy the sublime sights and sounds of nature —  otherwise we shall be like a man who goes to the river Ganges with a bowl full of holes?  Only a simple heart can enjoy the beauty of nature.  These beauties please us not only at the moment of seeing but they continue to thrill us even afterward. Wordsworth once saw a crowd of daffodils waving and tossing their head in sprightly dance.  The sight filled his heart with joy.  The poet felt that he had acquired a great treasure.  He says:

                ‘For oft when on my couch I lie,                 In vacant or in pensive mood                 They flash upon that inward eye                 Which is the bliss of solitude.’

                Keats saw beauty even in autumn.  The beautiful word picture of the harvested with a scythe in his hand, drowsy under the influence of poppies, is immortal.  The poet could enjoy music in the swallow’s twitters and cricket’s songs.  Who says that only spring has its songs? Autumn has its songs too, as beautiful as those of spring.

                Nature is not only a source of joy, it is also a source of joy, it is also a source of education.  The fruitful trees teach us to be humble; the mountains teach us to be firm; the flowers teach us to smile and blossom even when we are surrounded by the thorns of life.  Wordsworth rightly said:

                “One impulse from the vernal wood                 May teach us more of man,                 Of moral evil and of good                 Than all the sages can.”

                A keen observer of nature can certainly find tongues in trees, books in brooks, sermons in stones, and good in everything.

                Nature is a source of joy to us because it reveals the oneness of life.  Nature is a manifestation of God.  Nature is permeated with the same soul that dwells in man. There is a kinship between man and nature.  Love of nature is, therefore, natural in man.  A man who does not love nature is a heretic because he refuses to recognize God who is all-powerful and all-pervading.

Essay No. 02

Beauties of nature are everywhere. Only the beholder should have the eyes to behold them. As Emerson points out, everywhere the most beautiful aspect of nature is the meeting of the earth and the sky. Stars twinkle over a barren field, a green hill, a vast ocean, and a marble palace with the same glory and the same mystic grandeur.”

Nature is all around us. It is there to guide us and soothe our strained minds. Wordsworth, more than any other poet has sung songs of beauties of nature. He believes in the healing power of nature. That is why he is called the high priest of nature. “My heart leaps up when I behold a rainbow in the sky,” he declares. He considers nature “the nurse, the guide, the guardian of my heart and soul.” According to him, “Nature never betrayed the heart that loved her.”

As per Emerson, nature is also elusive. Its appearances are deceptive. It has an intrinsic beauty, but it is impossible to catch this beauty. Art and literature try to capture it but can never do so perfectly. He points out two polarities of nature. They are motion and rest. Motion makes things march forward but rest comes in to stop this progress momentarily.

Man is a part of nature. He follows the same. the principle even unconsciously. Geology, chemistry, history, and anthropology tell us about the formation of rocks, the appearance of plants, water animals, small insects and creatures, land animals, birds, and man. That is why GB Shaw believes in the ultimate emergence of Superman.

Nature appears endless in variety, but at the same time, it has little variety in certain respects. For instance, all parts of the universe are composed of the same elements which are governed by the same laws. Even man himself is bound by these laws and is punished whenever he tries to violate them.

According to Emerson, this excess is responsible for all motion which ensures onward march. Somehow nature got the blow or boost, rather a little excess of it and since then it has been moving endlessly and will do so forever. This excess is responsible for the plants and trees to hurl all around thousands of seeds with the hidden desire to perpetuate themselves.

We can say that man like nature is composed of a mixture of wisdom and folly, which is good in its own way. Nature never violates its own laws though occasionally it seems to do so as we see in excessive rains, droughts, storms, cold, heat, etc. Man’s tampering with laws of nature may sometimes cause such circumstances. Thus, man should live in harmony with nature.

Essay No. 03

Beauties of The Nature

Nature is beautiful in all its forms. As someone has rightly said, beauty lies in the eyes of the beholder. It is thus possible that some things may appear beautiful to one person while the other things may appear beautiful to the next person. Nature has given us a choice between the oceans, the forests, the deserts, the plains, and the mountains

Oceans form a large part of the earth. They are vast and mysterious. No one can as yet claim to have unraveled all its secrets. Some of these oceans are blue, others red while still others aquamarine. They contain in their waters flora and fauna of numerous varieties. Large whales co-exist with microscopic animals in the sea. There are plants that never once in their entire life-span see the light of the sun. There are underwater volcanoes and mountain ranges inside the sea. An added attraction of modern times is the vast number of submerged treasure ships on the sea bottom. Vast islands of coral, deep-sea diving, treasure hunts, surfing, and yachting add to the attraction of the sea. Some people prefer this beauty and are therefore content to spend all their free time near it.

In sharp contrast to the sea in the desert. Miles and miles of sand and an occasional train of camels are all that one can see. It is extremely hot in the day and very cold at the night, rain is a rare commodity here. On the face of it, the desert appears uninhabited. However, a host of small insects like the beetle, ants, etc., and animals like the cheetah, monkey, lizard, camel, etc. live in this inhospitable environment. Many hardy plants like the cactus grow here. An occasional rain turns the desert into a carpet of wildflowers. The desert encloses in itself many watering holes and the oasis around them are small settlements and date trees. For the seekers of adventure, the desert offers the mysteries of the shifting sands and its colorful people.

Forests and plains are diametrically opposite to the desert. They are full of life in every form. They are lush and green. There are tall trees and large creepers. Orchids and flowers make them more beautiful. There is plenty of water all year round. Varied and rare plants and animals can be found here. The air is fragrant with the perfumes of many spices. One can hear the bird calls both during the day and night. These forests are the home to many animals like the tiger, bear, boar, bison, etc. For lovers of wildlife, these forests offer an excellent opportunity to pursue the study of nature.

Mountains have a charm of their own. Snow-capped peaks beckon those who wish to conquer them. They can be of two types one that is full of dense forests and the other that is bare as the desert. The only difference they have from their counterparts in plains is the extreme cold temperature. This is true because animals like the yak are very similar to the camels of the plains. Snow and cold make these mountains very attractive to those interested in winter sports and trekking. Tall trees of deodar and pine, orchids, and wildflowers make them a naturalist’s delight Mountain springs and lakes add to the beauty of these places. When viewed from the air they appear like jewels in nature’s fabric.

In the end, it can be said that nature is beautiful and has an irresistible appeal. Only those who are dead in the soul would find fault with

About evirtualguru_ajaygour

essay about the beauty of nature


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Really fantastic and helpful ! Thanks a lot !

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I like it to

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Very true ..Best essay

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This is very true and man should stop cutting down trees and causing global warming. Nature is part of what makes us live. Global warming can cause death. This can encourage man to start planting more.

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Yes no cutting of trees for all the people s

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all above details are true.i love nature

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Awesome essay its really true

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really nice and easy to understand

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really great too much helpful to me…… i have participated in creative writing competition .. i have wrote this…. and really belive me that i got A++ means A DOUBLE PLUS SCORE IN MY CREATIVE WRITING.:)

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very helpful..Thank you very much

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I love nature.

Thank you very much.

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Astonishing 😍

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Really, nature 🌿🍃gives peace to all those who goes to her and also to who don’t approaches her. The feelings of the author can be felt very clearly and easily. I just loved this.

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Speechless. I am a lover of nature

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Essay on Mother Nature

Students are often asked to write an essay on Mother Nature in their schools and colleges. And if you’re also looking for the same, we have created 100-word, 250-word, and 500-word essays on the topic.

Let’s take a look…

100 Words Essay on Mother Nature

What is mother nature.

Mother Nature is a way to talk about our Earth’s environment. It includes everything like plants, animals, mountains, oceans, and the air we breathe. It’s like a big, beautiful home where all living things share space and resources.

Importance of Mother Nature

Mother Nature gives us food, water, and shelter. She also makes the air fresh and helps us stay healthy. Trees, for example, clean the air and give us oxygen. Without Mother Nature, we couldn’t live.

Threats to Mother Nature

Sadly, Mother Nature faces problems caused by people. Pollution, cutting down forests, and wasting resources hurt our environment. If we don’t take care of Mother Nature, she won’t be able to take care of us.

Protecting Mother Nature

We can help by recycling, saving water, and planting trees. It’s important to learn about and respect Mother Nature. When we look after her, she makes sure we have what we need to live and grow.

250 Words Essay on Mother Nature

Mother Nature is a name we give to the Earth’s environment and all the living things it supports. This includes the air we breathe, the water we drink, and the food we eat. It’s like a big, beautiful home where plants, animals, and humans live together.

Why is Mother Nature Important?

Mother Nature is very important because it provides us with everything we need to live. Trees give us oxygen, rivers provide water, and the soil grows our food. Without these, life would not be possible. Nature also makes the world a lovely place to live in with its mountains, oceans, and forests.

How Do We Affect Mother Nature?

People can both help and hurt Mother Nature. When we throw trash on the ground or pollute the air, we harm our environment. But when we plant trees and clean rivers, we help it. It’s like helping or hurting a friend. We need to make sure we are good friends to Mother Nature.

What Can We Do to Help?

To help Mother Nature, we can do simple things. We can recycle, use less water, and not waste food. We can also learn more about plants and animals to understand how to protect them. When we take care of Mother Nature, she takes care of us by keeping our home safe and healthy.

Remember, even small actions can make a big difference for Mother Nature. Let’s all try to be the best friends we can to our Earth!

500 Words Essay on Mother Nature

Introduction to mother nature.

Mother Nature is a term that we use to talk about our Earth and its environment. It includes everything from the air we breathe to the animals that walk the land. When we think about Mother Nature, we imagine the beautiful parts of our planet, like forests, oceans, mountains, and deserts. These are the places where plants grow and animals live. Mother Nature is important because it gives us food, water, and the air we need to stay alive.

The Beauty of Nature

Nature is full of wonders that can amaze us. Think about the last time you saw a sunset or looked at the stars at night. These are just a few examples of the beauty that Mother Nature shows us. Flowers, with their different colors and shapes, are another part of this beauty. Every season, nature changes its look, like a painter changing the colors on a canvas. In spring, flowers bloom; in summer, the sun shines bright; in fall, leaves turn orange and brown; and in winter, snow covers the ground.

Animals in Nature

Animals are a big part of Mother Nature. From tiny insects to large elephants, every animal has its place in the world. They each have different ways of living and add to the balance of nature. For example, bees help flowers grow by moving pollen from one flower to another. Birds spread seeds that can grow into new plants. Every animal, no matter how big or small, is important.

Nature Gives Us Resources

We get many things from nature that we use every day. Trees give us wood to build houses and make paper. We grow vegetables and fruits in the ground to eat. Water from rivers and lakes is used for drinking and cleaning. Even the air we breathe is a gift from nature. Without these resources, life would be very hard.

Taking Care of Nature

It is very important to take care of Mother Nature. Sometimes, people can hurt nature by cutting down too many trees, polluting the air and water, or harming animals. We need to protect nature so it can stay beautiful and healthy. We can do this by recycling, using less water, and being kind to animals. When we take care of nature, it takes care of us.

Nature and Us

We are all a part of nature. We live on the Earth, and we depend on nature to survive. It is our home. Just like we keep our houses clean, we should keep our planet clean too. We should remember that we share this home with plants and animals, and we should live in a way that is good for all of us.

Mother Nature is a wonderful and powerful part of our lives. It is full of beauty, resources, and life. We enjoy the gifts of nature every day, and it is our job to make sure we take care of our planet. By doing this, we make sure that Mother Nature stays healthy for us and for future generations. Let’s all promise to be friends with nature and protect our beautiful Earth.

That’s it! I hope the essay helped you.

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