Translations:Benutzer:Arian/Klett-Mini-Test/1718/en

in him. It is no different for the farmer, whatever goal his activity may be directed toward at any given moment. If he pursues the goal of tilling the field, he needs plough, cultivator, and harrow to prepare the seedbed; equally so in the care of the crops — with weeder harrow and hoe — and further at harvest, where the concern is a swift, sure, and soil-sparing gathering-in. The idea-picture guiding the farmer in all these activities lives in him, and the field, the plants, the weather and so on tell him what needs doing, just as the stone tells the sculptor where and how he must set the chisel and how forceful the stroke should be. Since the farmer, however, lives and works with enlivened and ensouled nature — that is, with what is in a being-way and gives itself its own form and makes itself into a work of art — nature is for the farmer, at the level of craft, the great teacher. What the farmer needs is a science of the sources from which his teacher draws and creates: whether in arable farming and horticulture, in animal husbandry and pasture management, in fruit growing and silviculture, and in landscape shaping. It must be a science of what is perpetually becoming and dying, which of necessity determines the farmer's aim. And his art consists then in this: through his craft work, out of lived wisdom — knowledge that is felt and knowing — to create the relational contexts through which, in all their diversity, the cultivated plants, the domestic animals, and the cultivated soils can unfold in their ideal form. The art of craft in farming places itself in the service of nature to the utmost degree. It is a vying with what nature as the great artist of its work of creation sets before us. The concern is