The Eulogy of Richard Jefferies

by Walter Besant

After reading this, turn to the following, in quite a different style, from the same volume. Could the same man, one asks, have written both these passages?

"The waves coming round the promontory before the west wind still give the idea of a flowing stream, as they did in Homer's days. Here beneath the cliff, standing where beach and sand meet, it is still; the wind passes six hundred feet overhead. But yonder, every larger wave rolling before the breeze breaks over the rocks; a white line of spray rushes along them, gleaming in the sunshine; for a moment the dark rock-wall disappears, till the spray sinks.

"The sea seems higher than the spot where I stand, its surface on a higher level—raised like a green mound—as if it could burst in and occupy the space up to the foot of the cliff in a moment. It will not do so, I know; but there is an infinite possibility about the sea; it may do what it is not recorded to have done. It is not to be ordered, it may overleap the bounds human observation has fixed for it. It has a potency unfathomable. There is still something in it not quite grasped and understood—something still to be discovered—a mystery.

"So the white spray rushes along the low broken wall of rocks, the sun gleams on the flying fragments of the wave, again it sinks, and the rhythmic motion holds the mind, as an invisible force holds back the tide. A faith of expectancy, a sense that something may drift up from the unknown, a large belief in the unseen resources of the endless space out yonder, soothes the mind with dreamy hope.

"The little rules and little experiences, all the petty ways of narrow life, are shut off behind by the ponderous and impassable cliff; as if we had dwelt in the dim light of a cave, but coming out at last to look at the sun, a great stone had fallen and closed the entrance, so that there was no return to the shadow. The impassable precipice shuts off our former selves of yesterday, forcing us to look out over the sea only, or up to the deeper heaven.

"These breadths draw out the soul; we feel that we have wider thoughts than we knew; the soul has been living, as it were, in a nutshell, all unaware of its own power, and now suddenly finds freedom in the sun and the sky. Straight, as if sawn down from turf to beach, the cliff shuts off the human world, for the sea knows no time and no era; you cannot tell what century it is from the face of the sea. A Roman trireme suddenly rounding the white edge-line of chalk, borne on wind and oar from the Isle of Wight towards the gray castle at Pevensey (already old in olden days), would not seem strange. What wonder could surprise us coming from the wonderful sea?"

Here, again, is a specimen of what has been called his "cataloguing." He describes a hedgerow. Cataloguing! Yes. But was ever observation more minute?

"A wild 'plum,' or bullace, grew in one place; the plum about twice the size of a sloe, with a bloom upon the skin like the cultivated fruit, but lacking its sweetness. Yet there was a distinct difference of taste: the 'plum' had not got the extreme harshness of the sloe. A quantity of dogwood occupied a corner; in summer it bore a pleasing flower; in the autumn, after the black berries appeared upon it, the leaves became a rich bronze colour, and some when the first frosts touched them, curled up at the edge and turned crimson. There were two or three guelder-rose bushes—the wild shrub—which were covered in June with white bloom; not in snowy balls like the garden variety, but flat and circular, the florets at the edge of the circle often whitest, and those in the centre greenish. In autumn the slender boughs were weighed down with heavy bunches of large purplish berries, so full of red juice as to appear on the point of bursting. As these soon disappeared they were doubtless eaten by birds.

"Besides the hawthorn and briar there were several species of willow—the snake-skin willow, so called because it sheds its bark; the 'snap-willow,' which is so brittle that every gale breaks off its feeble twigs, and pollards. One of these, hollow and old, had upon its top a crowd of parasites. A bramble had taken root there, and hung over the side; a small currant-bush grew freely—both, no doubt, unwittingly planted by birds—and finally the bines of the noxious bitter-sweet or nightshade, starting from the decayed wood, supported themselves among the willow-branches, and in autumn were bright with red berries. Ash-stoles, the buds on whose boughs in spring are hidden under black sheaths; nut-tree stoles, with ever-welcome nuts—always stolen here, but on the downs, where they are plentiful, staying till they fall; young oak growing up from the butt of a felled tree. On these oak-twigs sometimes, besides the ordinary round galls, there may be found another gall, larger, and formed, as it were, of green scales one above the other.

"Where shall we find in the artificial and, to my thinking, tasteless pleasure-grounds of modern houses so beautiful a shrubbery as this old hedgerow? Nor were evergreens wanting, for the ivy grew thickly, and there was one holly bush—not more, for the soil was not affected by holly. The tall cow-parsnip or 'gicks' rose up through the bushes; the great hollow stem of the angelica grew at the edge of the field, on the verge of the grass, but still sheltered by the brambles. Some reeds early in spring thrust up their slender green tubes, tipped with two spear-like leaves. The reed varies in height according to the position in which it grows. If the hedge has been cut it does not reach higher than four or five feet; when it springs from a deep, hollow corner, or with bushes to draw it up, you can hardly touch its tip with your walking-stick. The leaders of the black bryony, lifting themselves above the bushes, and having just there nothing to cling to, twist around each other, and two bines thus find mutual support where one alone would fall of its own weight.

"In the watery places the sedges send up their dark flowers, dusted with light yellow pollen, rising above the triangular stem with its narrow, ribbed leaf. The reed-sparrow or bunting sits upon the spray over the ditch with its carex grass and rushes; he is a graceful bird, with a crown of glossy black. Hops climb the ash and hang their clusters, which impart an aromatic scent to the hand that plucks them; broad burdock leaves, which the mouchers put on the top of their baskets to shield their freshly gathered watercresses from the sunshine; creeping avens, with buttercup-like flowers and long stems that straggle across the ditch, and in autumn are tipped with a small ball of soft spines; mints, strong-scented and unmistakable; yarrow, white and sometimes a little lilac, whose flower is perhaps almost the last that the bee visits. In the middle of October I have seen a wild bee on a last stray yarrow."

Again we are in the forest, and again 'cataloguing':

"The beechnuts are already falling in the forest, and the swine are beginning to search for them while yet the harvest lingers. The nuts are formed by midsummer, and now, the husk opening, the brown angular kernel drops out. Many of the husks fall, too; others remain on the branches till next spring. Under the beeches the ground is strewn with the mast, as hard almost to walk on as pebbles. Rude and uncouth as swine are in themselves, somehow they look different under trees. The brown leaves amid which they rout, and the brown-tinted fern behind, lend something of their colour and smooth away their ungainliness. Snorting as they work with very eagerness of appetite, they are almost wild, approaching in a measure to their ancestors, the savage boars. Under the trees the imagination plays unchecked, and calls up the past as if yew bow and broad arrow were still in the hunter's hands. So little is changed since then. The deer are here still. Sit down on the root of this oak (thinly covered with moss), and on that very spot it is quite possible a knight fresh home from the Crusades may have rested and feasted his eyes on the lovely green glades of his own unsurpassed England. The oak was there then, young and strong; it is here now, ancient, but sturdy. Rarely do you see an oak fall of itself. It decays to the last stump; it does not fall. The sounds are the same—the tap as a ripe acorn drops, the rustle of a leaf which comes down slowly, the quick rushes of mice playing in the fern. A movement at one side attracts the glance, and there is a squirrel darting about. There is another at the very top of the beech yonder, out on the boughs, nibbling the nuts. A brown spot a long distance down the glade suddenly moves, and thereby shows itself to be a rabbit. The bellowing sound that comes now and then is from the stags, which are preparing to fight. The swine snort, and the mast and leaves rustle as they thrust them aside. So little is changed: these are the same sounds and the same movements, just as in the olden time.

"The soft autumn sunshine, shorn of summer glare, lights up with colour the fern, the fronds of which are yellow and brown, the leaves, the gray grass, and hawthorn sprays already turned. It seems as if the early morning's mists have the power of tinting leaf and fern, for so soon as they commence the green hues begin to disappear. There are swathes of fern yonder, cut down like grass or corn, the harvest of the forest. It will be used for litter and for thatching sheds. The yellow stalks—the stubble—will turn brown and wither through the winter, till the strong spring shoot comes up and the anemones flower. Though the sunbeams reach the ground here, half the green glade is in shadow, and for one step that you walk in sunlight ten are in shade. Thus, partly concealed in full day, the forest always contains a mystery. The idea that there may be something in the dim arches held up by the round columns of the beeches lures the footsteps onwards. Something must have been lately in the circle under the oak where the fern and bushes remain at a distance and wall in a lawn of green. There is nothing on the grass but the upheld leaves that have dropped, no mark of any creature, but this is not decisive; if there are no physical signs, there is a feeling that the shadow is not vacant. In the thickets, perhaps—the shadowy thickets with front of thorn—it has taken refuge and eluded us. Still onward the shadows lead us in vain but pleasant chase."

Next let us rise with the rustic and follow him as he begins his day's work:

"The pale beams of the waning moon still cast a shadow of the cottage, when the labourer rises from his heavy sleep on a winter's morning. Often he huddles on his things and slips his feet into his thick 'water-tights'—which are stiff and hard, having been wet over-night—by no other light than this. If the household is comparatively well managed, however, he strikes a match, and his 'dip' shows at the window. But he generally prefers to save a candle, and clatters down the narrow steep stairs in the semi-darkness, takes a piece of bread and cheese, and steps forth into the sharp air. The cabbages in the garden he notes are covered with white frost, so is the grass in the fields, and the footpath is hard under foot. In the furrows is a little ice—white because the water has shrunk from beneath it, leaving it hollow—and on the stile is a crust of rime, cold to the touch, which he brushes off in getting over. Overhead the sky is clear—cloudless but pale—and the stars, though not yet fading, have lost the brilliant glitter of midnight. Then, in all their glory, the idea of their globular shape is easily accepted; but in the morning, just as the dawn is breaking, the absence of glitter conveys the impression of flatness—circular rather than globular. But yonder, over the elms, above the cowpens, the great morning star has risen, shining far brighter, in proportion, than the moon; an intensely clear metallic light—like incandescent silver.

"The shadows of the trees on the frosted ground are dull. As the footpath winds by the hedge the noise of his footstep startles the blackbird roosting in the bushes, and he bustles out and flies across the field. There is more rime on the posts and rails around the rickyard, and the thatch on the haystack is white with it in places. He draws out the broad hay-knife—a vast blade, wide at the handle, the edge gradually curving to a point—and then searches for the rubber or whetstone, stuck somewhere in the side of the rick. At the first sound of the stone upon the steel the cattle in the adjoining yard and sheds utter a few low 'moos,' and there is a stir among them. Mounting the ladder, he forces the knife with both hands into the hay, making a square cut which bends outwards, opening from the main mass till it appears on the point of parting and letting him fall with it to the ground. But long practice has taught him how to balance himself half on the ladder, half on the hay. Presently, with a truss unbound and loose on his head, he enters the yard, and passes from crib to crib, leaving a little here and a little there. For if he fills one first there will be quarrelling among the cows, and besides, if the crib is too liberally filled, they will pull it out and tread it under foot."

Here is the portrait from his book of the Red Deer:

"There is no more beautiful creature than a stag in his pride of antler, his coat of ruddy gold, his grace of form and motion. He seems the natural owner of the ferny coombes, the oak woods, the broad slopes of heather. They belong to him, and he steps upon the sward in lordly mastership. The land is his, and the hills; the sweet streams and rocky glens. He is infinitely more natural than the cattle and sheep that have strayed into his domains. For some inexplicable reason, although they, too, are in reality natural, when he is present they look as if they had been put there, and were kept there by artificial means. They do not, as painters say, shade in with the colours and shape of the landscape. He is as natural as an oak, or a fern, or a rock itself. He is earth-born, autochthon, and holds possession by descent. Utterly scorning control, the walls and hedges are nothing to him; he roams where he chooses, as fancy leads, and gathers the food that pleases him. Pillaging the crops, and claiming his dues from the orchards and gardens, he exercises his ancient feudal rights, indifferent to the laws of house-people. Disturb him in his wild stronghold of oakwood or heather, and as he yields to force, still he stops and looks back proudly. He is slain, but never conquered. He will not cross with the tame park deer; proud as a Spanish noble, he disdains the fallow deer, and breeds only with his own race. But it is chiefly because of his singular adaptation and fitness to the places where he is found that he obtains our sympathy. The branching antlers accord so well with the deep, shadowy boughs and the broad fronds of the brake; the golden red of his coat fits to the foxglove, the purple heather, and later on to the orange and red of the beech; his easy-bounding motion springs from the elastic sward; his limbs climb the steep hill as if it were level; his speed covers the distance, and he goes from place to place as the wind. He not only lives in the wild, wild woods and moors, he grows out of them as the oak grows from the ground. The noble stag, in his pride of antler, is lord and monarch of all the creatures left in English forests and on English hills."