As portrayed numerous times by the essays in “A Sand County Almanac” and “The Quality of Landscape,” Leopold does not hesitate to denounce humanity’s tremendous impact on nature. In “Prairie Birthday,” he goes on to confess that, if he were to meet a railway president to provide him “physical evidence of his soft-heartedness” – in other words, his destruction of the Silphium prairie (1966). His criticism extends to not just humanity’s actions but to their perceptions and beliefs. In an in-depth annunciation of nature’s deep-rooted elegance in “Marshland Elegy,” he chastises our perception of art, particularly nature, with the superficial “pretty” (Leopold, 1966). It appears that the only reason we spare any beings of destruction if it is physically alluring to us. Furthermore, he frequently questions who wrote the rules for progress and why we abide by
As portrayed numerous times by the essays in “A Sand County Almanac” and “The Quality of Landscape,” Leopold does not hesitate to denounce humanity’s tremendous impact on nature. In “Prairie Birthday,” he goes on to confess that, if he were to meet a railway president to provide him “physical evidence of his soft-heartedness” – in other words, his destruction of the Silphium prairie (1966). His criticism extends to not just humanity’s actions but to their perceptions and beliefs. In an in-depth annunciation of nature’s deep-rooted elegance in “Marshland Elegy,” he chastises our perception of art, particularly nature, with the superficial “pretty” (Leopold, 1966). It appears that the only reason we spare any beings of destruction if it is physically alluring to us. Furthermore, he frequently questions who wrote the rules for progress and why we abide by