I
There was something dark on the grass under an elm in the field by the barn. It rose and fell; and we saw that it was a wing--a single black wing, striking the ground instead of the air; indeed, it seemed to come out of the earth itself, the body of the bird being hidden by the grass. This black wing flapped and flapped, but could not lift itself--a single wing of course could not fly. A rook had dropped out of the elm and was lying helpless at the foot of the tree--it is a favourite tree with rooks; they build in it, and at that moment there were twenty or more perched aloft, cawing and conversing comfortably, without the least thought of their dying comrade. Not one of all the number descended to see what was the matter, nor even fluttered half-way down. This elm is their clubhouse, where they meet every afternoon as the sun gets low to discuss the scandals of the day, before retiring to roost in the avenues and tree-groups of the park adjacent. While we looked, a peacock came round the corner of the barn; he had caught sight of the flapping wing, and approached with long deliberate steps and outstretched neck. "Ee-aw! Ee-aw! What's this? What's this?" he inquired in bird-language. "Ee-aw! Ee-aw! My friends, see here!" Gravely, and step by step, he came nearer and nearer, slowly, and not without some fear, till curiosity had brought him within a yard. In a moment or two a peahen followed and also stretched out her neck--the two long necks pointing at the black flapping wing. A second peacock and peahen approached, and the four great birds stretched out their necks towards the dying rook--a "crowner's quest" upon the unfortunate creature.
If any one had been at hand to sketch it, the scene would have been very grotesque, and not without a ludicrous sadness. There was the tall elm tinted with yellow, the black rooks high above flying in and out, yellow leaves twirling down, the blue peacocks with their crests, the red barn behind, the golden sun afar shining low through the trees of the park, the brown autumn sward, a grey horse, orange maple bushes. There was the quiet tone of the coming evening--the early evening of October--such an evening as the rook had seen many a time from the tops of the trees. A man dies, and the crowd goes on passing under the window along the street without a thought. The rook died, and his friends, who had that day been with him in the oaks feasting on acorns, who had been with him in the fresh-turned furrows, born perhaps in the same nest, utterly forgot him before he was dead. With a great common caw--a common shout--they suddenly left the tree in a bevy and flew towards the park. The peacocks having brought in their verdict, departed, and the dead bird was left alone.
In falling out of the elm, the rook had alighted partly on his side and partly on his back, so that he could only flutter one wing, the other being held down by his own weight. He had probably died from picking up poisoned grain somewhere, or from a parasite. The weather had been open, and he could not have been starved. At a distance, the rook's plumage appears black; but close at hand it will be found a fine blue-black, glossy, and handsome.
These peacocks are the best "rain-makers" in the place; whenever they cry much, it is sure to rain; and if they persist day after day, the rain is equally continuous. From the wall by the barn, or the elm-branch above, their cry resounds like the wail of a gigantic cat, and is audible half a mile or more. In the summer, I found one of them, a peacock in the fall brilliance of his colours, on a rail in the hedge under a spreading maple bush. His rich-hued neck, the bright light and shadow, the tall green meadow grass, brought together the finest colours. It is curious that a bird so distinctly foreign, plumed for the Asiatic sun, should fit so well with English meads. His splendid neck immediately pleases, pleases the first time it is seen, and on the fiftieth occasion. I see these every day, and always stop to look at them; the colour excites the sense of beauty in the eye, and the shape satisfies the idea of form. The undulating curve of the neck is at once approved by the intuitive judgment of the mind, and it is a pleasure to the mind to reiterate that judgment frequently. It needs no teaching to see its beauty--the feeling comes of itself.
How different with the turkey-cock which struts round the same barn! A fine big bird he is, no doubt; but there is no intrinsic beauty about him; on the contrary, there is something fantastic in his style and plumage. He has a way of drooping his wings as if they were armour-plates to shield him from a shot. The ornaments upon his head and beak are in the most awkward position. He was put together in a dream, of uneven and odd pieces that live and move, but do not fit. Ponderously gawky, he steps as if the world was his, like a "motley" crowned in sport. He is good eating, but he is not beautiful. After the eye has been accustomed to him for some time--after you have fed him every day and come to take an interest in him--after you have seen a hundred turkey-cocks, then he may become passable, or, if you have the fancier's taste, exquisite. Education is requisite first; you do not fall in love at first sight. The same applies to fancy-pigeons, and indeed many pet animals, as pugs, which come in time to be animated with a soul in some people's eyes. Compare a pug with a greyhound straining at the leash. Instantly he is slipped he is gone as a wave let loose. His flexible back bends and undulates, arches and unarches, rises and falls as a wave rises and rolls on. His pliant ribs open; his whole frame "gives" and stretches, and closing again in a curve, springs forward. Movement is as easy to him as to the wave, which melting, is remoulded, and sways onward. The curve of the greyhound is not only the line of beauty, but a line which suggests motion; and it is the idea of motion, I think, which so strongly appeals to the mind.
We are often scornfully treated as a nation by people who write about art, because they say we have no taste; we cannot make art jugs for the mantelpiece, crockery for the bracket, screens for the fire; we cannot even decorate the wall of a room as it should be done. If these are the standards by which a sense of art is to be tried, their scorn is to a certain degree just. But suppose we try another standard. Let us put aside the altogether false opinion that art consists alone in something actually made, or painted, or decorated, in carvings, colourings, touches of brush or chisel. Let us look at our lives. I mean to say that there is no nation so thoroughly and earnestly artistic as the English in their lives, their joys, their thoughts, their hopes. Who loves nature like an Englishman? Do Italians care for their pale skies? I never heard so. We go all over the world in search of beauty--to the keen north, to the cape whence the midnight sun is visible, to the extreme south, to the interior of Africa, gazing at the vast expanse of Tanganyika or the marvellous falls of the Zambesi. We admire the temples and tombs and palaces of India; we speak of the Alhambra of Spain almost in whispers, so deep is our reverent admiration; we visit the Parthenon. There is not a picture or a statue in Europe we have not sought. We climb the mountains for their views and the sense of grandeur they inspire; we roam over the wide ocean to the coral islands of the far Pacific; we go deep into the woods of the West; and we stand dreamily under the Pyramids of the East. What part is there of the English year which has not been sung by the poets? all of whom are full of its loveliness; and our greatest of all, Shakespeare, carries, as it were, armfuls of violets, and scatters roses and golden wheat across his pages, which are simply fields written with human life.
This is art indeed--art in the mind and soul, infinitely deeper, surely, than the construction of crockery, jugs for the mantelpiece, dados, or even of paintings. The lover of nature has the highest art in his soul. So, I think, the bluff English farmer who takes such pride and delight in his dogs and horses, is a much greater man of art than any Frenchman preparing with cynical dexterity of hand some coloured presentment of flashy beauty for the _salon_. The English girl who loves her horse--and English girls _do_ love their horses most intensely--is infinitely more artistic in that fact than the cleverest painter on enamel. They who love nature are the real artists; the "artists" are copyists, St. John the naturalist, when exploring the recesses of the Highlands, relates how he frequently came in contact with men living in the rude Highland way--forty years since, no education then--whom at first you would suppose to be morose, unobservant, almost stupid. But when they found out that their visitor would stay for hours gazing in admiration at their glens and mountains, their demeanour changed. Then the truth appeared: they were fonder than he was himself of the beauties of their hills and lakes; they could see the art _there_, though perhaps they had never seen a picture in their lives, certainly not any blue-and-white crockery. The Frenchman flings his fingers dexterously over the canvas, but he has never had that in his heart which the rude Highlander had.
The path across the arable field was covered with a design of bird's feet. The reversed broad arrow of the fore-claws, and the straight line of the hinder claw, trailed all over it in curving lines. In the dry dust, their feet were marked as clearly as a seal on wax--their trails wound this way and that, and crossed as their quick eyes had led them to turn to find something. For fifty or sixty yards the path was worked with an inextricable design; it was a pity to step on it and blot out the traces of those little feet. Their hearts so happy, their eyes so observant, the earth so bountiful to them with its supply of food, and the late warmth of the autumn sun lighting up their life. They know and feel the different loveliness of the seasons as much as we do. Every one must have noticed their joyousness in spring; they are quiet, but so very, very busy in the height of summer; as autumn comes on they obviously delight in the occasional hours of warmth. The marks of their little feet are almost sacred--a joyous life has been there--do not obliterate it. It is so delightful to know that something is happy.
The hawthorn hedge that goes down the slope is more coloured than the hedges in the sheltered plain. Yonder, a low bush on the brow is a deep crimson; the hedge as it descends varies from brown to yellow, dotted with red haws, and by the gateway has another spot of crimson. The lime trees turn yellow from top to bottom, all the leaves together; the elms by one or two branches at a time. A lime tree thus entirely coloured stands side by side with an elm, their boughs intermingling; the elm is green except a line at the outer extremity of its branches. A red light as of fire plays in the beeches, so deep is their orange tint in which the sunlight is caught. An oak is dotted with buff, while yet the main body of the foliage is untouched. With these tints and sunlight, nature gives us so much more than the tree gives. A tree is nothing but a tree in itself: but with light and shadow, green leaves moving, a bird singing, another moving to and fro--in autumn with colour--the boughs are filled with imagination. There then seems so much more than the mere tree; the timber of the trunk, the mere sticks of the branches, the wooden framework is animated with a life. High above, a lark sings, not for so long as in spring--the October song is shorter--but still he sings. If you love colour, plant maple; maple bushes colour a whole hedge. Upon the bank of a pond, the brown oak-leaves which have fallen are reflected in the still deep water.
It is from the hedges that taste must be learned. A garden abuts on these fields, and being on slightly rising ground, the maple bushes, the brown and yellow and crimson hawthorn, the limes and elms, are all visible from it; yet it is surrounded by stiff, straight iron railings, unconcealed even by the grasses, which are carefully cut down with the docks and nettles, that do their best, three or four times in the summer, to hide the blank iron. Within these iron railings stands a row of _arbor vitae_, upright, and stiff likewise, and among them a few other evergreens; and that is all the shelter the lawn and flower-beds have from the east wind, blowing for miles over open country, or from the glowing sun of August. This garden belongs to a gentleman who would certainly spare no moderate expense to improve it, and yet there it remains, the blankest, barest, most miserable-looking square of ground the eye can find; the only piece of ground from which the eye turns away; for even the potato-field close by, the common potato-field, had its colour in bright poppies, and there were partridges in it, and at the edges, fine growths of mallow and its mauve flowers. Wild parsley, still green in the shelter of the hazel stoles, is there now on the bank, a thousand times sweeter to the eye than bare iron and cold evergreens. Along that hedge, the white bryony wound itself in the most beautiful manner, completely covering the upper part of the thick brambles, a robe thrown over the bushes; its deep cut leaves, its countless tendrils, its flowers, and presently the berries, giving pleasure every time one passed it. Indeed, you could not pass without stopping to look at it, and wondering if any one ever so skilful, even those sure-handed Florentines Mr. Ruskin thinks so much of, could ever draw that intertangled mass of lines. Nor could you easily draw the leaves and head of the great parsley--commonest of hedge-plants--the deep indented leaves, and the shadow by which to express them. There was work enough in that short piece of hedge by the potato-field for a good pencil every day the whole summer. And when done, you would not have been satisfied with it, but only have learned how complex and how thoughtful and far reaching Nature is in the simplest of things. But with a straight-edge or ruler, any one could draw the iron railings in half an hour, and a surveyor's pupil could make them look as well as Millais himself. Stupidity to stupidity, genius to genius; any hard fist can manage iron railings; a hedge is a task for the greatest.
Those, therefore, who really wish their gardens or grounds, or any place, beautiful, must get that greatest of geniuses, Nature, to help them, and give their artist freedom to paint to fancy, for it is Nature's imagination which delights us--as I tried to explain about the tree, the imagination, and not the fact of the timber and sticks. For those white bryony leaves and slender spirals and exquisitely defined flowers are full of imagination, products of a sunny dream, and tinted so tastefully, that although they are green, and all about them is green too, yet the plant is quite distinct, and in no degree confused or lost in the mass of leaves under and by it. It stands out, and yet without violent contrast. All these beauties of form and colour surround the place, and try, as it were, to march in and take possession, but are shut out by straight iron railings. Wonderful it is that education should make folk tasteless! Such, certainly, seems to be the case in a great measure, and not in our own country only, for those who know Italy tell us that the fine old gardens there, dating back to the days of the Medici, are being despoiled of ilex and made formal and straight. Is all the world to be Versaillised?
Scarcely two hundred yards from these cold iron railings, which even nettles and docks would hide if they could, and thistles strive to conceal, but are not permitted, there is an old cottage by the roadside. The roof is of old tile, once red, now dull from weather; the walls some tone of yellow; the folk are poor. Against it there grows a vigorous plant of jessamine, a still finer rose, a vine covers the lean-to at one end, and tea-plant the corner of the wall; beside these, there is a yellow-flowering plant, the name of which I forget at the moment, also trained to the walls; and ivy. Altogether, six plants grow up the walls of the cottage; and over the wicket-gate there is a rude arch--a framework of tall sticks--from which droop thick bunches of hops. It is a very commonplace sort of cottage; nothing artistically picturesque about it, no effect of gable or timber-work; it stands by the roadside in the most commonplace way, and yet it pleases. They have called in Nature, that great genius, and let the artist have his own way. In Italy, the art-country, they cut down the ilex trees, and get the surveyor's pupil with straight-edge and ruler to put it right and square for them. Our over-educated and well-to-do people set iron railings round about their blank pleasure-grounds, which the potato-field laughs at in bright poppies; and actually one who has some fine park-grounds has lifted up on high a mast and weather-vane! a thing useful on the sea-board at coastguard stations for signalling, but oh! how repellent and straight and stupid among clumps of graceful elms!
II
The dismal pits in a disused brickfield, unsightly square holes in a waste, are full in the shallow places of an aquatic grass, Reed Canary Grass, I think, which at this time of mists stretches forth sharp-pointed tongues over the stagnant water. These sharp-pointed leaf-tongues are all on one side of the stalks, so that the most advanced project across the surface, as if the water were the canvas, and the leaves drawn on it. For water seems always to rise away from you--to slope slightly upwards; even a pool has that appearance, and therefore anything standing in it is drawn on it as you might sketch on this paper. You see the water beyond and above the top of the plant, and the smooth surface gives the leaf and stalk a sharp, clear definition. But the mass of the tall grass crowds together, every leaf painted yellow by the autumn, a thick cover at the pit-side. This tall grass always awakes my fancy, its shape partly, partly its thickness, perhaps; and yet these feelings are not to be analysed. I like to look at it; I like to stand or move among it on the bank of a brook, to feel it touch and rustle against me. A sense of wildness comes with its touch, and I feel a little as I might feel if there was a vast forest round about. As a few strokes from a loving hand will soothe a weary forehead, so the gentle pressure of the wild grass soothes and strokes away the nervous tension born of civilised life.
I could write a whole history of it; the time when the leaves were fresh and green, and the sedge-birds frequented it; the time when the moorhen's young crept after their mother through its recesses; from the singing of the cuckoo by the river, till now brown and yellow leaves strew the water. They strew, too, the dry brown grass of the land, thick tuffets, and lie even among the rushes, blown hither from the distant trees. The wind works its full will over the exposed waste, and drives through the reed-grass, scattering the stalks aside, and scarce giving them time to spring together again, when the following blast a second time divides them.
A cruder piece of ground, ruder and more dismal in its unsightly holes, could not be found; and yet, because of the reed-grass, it is made as it were full of thought. I wonder the painters, of whom there are so many nowadays, armies of amateurs, do not sometimes take these scraps of earth and render into them the idea which fills a clod with beauty. In one such dismal pit--not here--I remember there grew a great quantity of bulrushes. Another was surrounded with such masses of swamp-foliage that it reminded those who saw it of the creeks in semi-tropical countries. But somehow they do not seem to see these things, but go on the old mill-round of scenery, exhausted many a year since. They do not see them, perhaps, because most of those who have educated themselves in the technique of painting are city-bred, and can never have the _feeling_ of the country, however fond they may be of it.
In those fields of which I was writing the other day, I found an artist at work at his easel; and a pleasant nook be had chosen. His brush did its work with a steady and sure stroke that indicated command of his materials. He could delineate whatever he selected with technical skill at all events. He had pitched his easel where two hedges formed an angle, and one of them was full of oak-trees. The hedge was singularly full of "bits"--bryony, tangles of grasses, berries, boughs half-tinted and boughs green, hung as it were with pictures like the wall of a room. Standing as near as I could without disturbing him, I found that the subject of his canvas was none of these. It was that old stale and dull device of a rustic bridge spanning a shallow stream crossing a lane. Some figure stood on the bridge--the old, old trick. He was filling up the hedge of the lane with trees from the hedge, and they were cleverly executed. But why drag them into this fusty scheme, which has appeared in every child's sketch-book for fifty years? Why not have simply painted the beautiful hedge at hand, purely and simply, a hedge hung with pictures for any one to copy? The field in which he had pitched his easel is full of fine trees and good "effects." But no; we must have the ancient and effete old story. This is not all the artist's fault, because he must in many cases paint what he can sell; and if his public will only buy effete old stories, he cannot help it. Still, I think if a painter _did_ paint that hedge in its fulness of beauty, just simply as it stands in the mellow autumn light, it would win approval of the best people, and that ultimately, a succession of such work would pay.
The clover was dying down, and the plough would soon be among it--the earth was visible in patches. Out in one of these bare patches there was a young mouse, so chilled by the past night that his dull senses did not appear conscious of my presence. He had crept out on the bare earth evidently to feel the warmth of the sun, almost the last hour he would enjoy. He looked about for food, but found none; his short span of life was drawing to a close; even when at last he saw me, he could only run a few inches under cover of a dead clover-plant. Thousands upon thousands of mice perish like this as the winter draws on, born too late in the year to grow strong enough or clever enough to prepare a store. Other kinds of mice perish like leaves at the first blast of cold air. Though but a mouse, to me it was very wretched to see the chilled creature, so benumbed as to have almost lost its sense of danger. There is something so ghastly in birth that immediately leads to death; a sentient creature born only to wither. The earth offered it no help, nor the declining sun; all things organised seem to depend so much on circumstances. Nothing but pity can be felt for thousands upon thousands of such organisms. But thus, too, many a miserable human being has perished in the great Metropolis, dying, chilled and benumbed, of starvation, and finding the hearts of fellow-creatures as bare and cold as the earth of the clover-field.
In these fields outside London the flowers are peculiarly rich in colour. The common mallow, whose flower is usually a light mauve, has here a deep, almost purple bloom; the bird's-foot lotus is a deep orange. The fig-wort, which is generally two or three feet high, stands in one ditch fully eight feet, and the stem is more than half an inch square. A fertile soil has doubtless something to do with this colour and vigour. The red admiral butterflies, too, seemed in the summer more brilliant than usual. One very fine one, whose broad wings stretched out like fans, looked simply splendid floating round and round the willows which marked the margin of a dry pool. His blue markings were really blue--blue velvet--his red, and the white stroke shone as if sunbeams were in his wings. I wish there were more of these butterflies; in summer, dry summer, when the flowers seem gone and the grass is not so dear to us, and the leaves are dull with heat, a little colour is so pleasant. To me, colour is a sort of food; every spot of colour is a drop of wine to the spirit. I used to take my folding-stool on those long, heated days, which made the summer of 1884 so conspicuous among summers, down to the shadow of a row of elms by a common cabbage-field. Their shadow was nearly as hot as the open sunshine; the dry leaves did not absorb the heat that entered them, and the dry hedge and dry earth poured heat up as the sun poured it down. Dry, dead leaves--dead with heat, as with frost--strewed the grass, dry, too, and withered at my feet.
But among the cabbages, which were very small, there grew thousands of poppies, fifty times more poppies than cabbage, so that the pale green of the cabbage-leaves was hidden by the scarlet petals falling wide open to the dry air. There was a broad band of scarlet colour all along the side of the field, and it was this which brought me to the shade of those particular elms. The use of the cabbages was in this way: they fetched for me all the white butterflies of the neighbourhood, and they fluttered, hundreds and hundreds of white butterflies, a constant stream and flow of them over the broad band of scarlet. Humble-bees came too; bur-bur-bur; and the buzz, and the flutter of the white wings over those fixed red butterflies the poppies, the flutter and sound and colour pleased me in the dry heat of the day. Sometimes I set my camp-stool by a humble-bees' nest. I like to see and hear them go in and out, so happy, busy, and wild; the humble-bee is a favourite. That summer their nests were very plentiful; but although the heat might have seemed so favourable to them, the flies were not at all numerous, I mean out-of-doors. Wasps, on the contrary, flourished to an extraordinary degree. One willow tree particularly took their fancy; there was a swarm in the tree for weeks, attracted by some secretion; the boughs and leaves were yellow with wasps. But it seemed curious that flies should not be more numerous than usual; they are dying now fast enough, except a few of the large ones, that still find some sugar in the flowers of the ivy. The finest show of ivy flower is among some yew trees; the dark ivy has filled the dark yew tree, and brought out its pale yellow-green flowers in the sombre boughs. Last night, a great fly, the last in the house, buzzed into my candle. I detest flies, but I was sorry for his scorched wings; the fly itself hateful, its wings so beautifully made. I have sometimes picked a feather from the dirt of the road and placed it on the grass. It is contrary to one's feelings to see so beautiful a thing lying in the mud. Towards my window now, as I write, there comes suddenly a shower of yellow leaves, wrested out by main force from the high elms; the blue sky behind them, they droop slowly, borne onward, twirling, fluttering towards me--a cloud of autumn butterflies.
A spring rises on the summit of a green brow that overlooks the meadows for miles. The spot is not really very high, still it is the highest ground in that direction for a long distance, and it seems singular to find water on the top of the hill, a thing common enough, but still sufficiently opposed to general impressions to appear remarkable. In this shallow water, says a faint story--far off, faint and uncertain, like the murmur of a distant cascade--two ladies and some soldiers lost their lives. The brow is defended by thick bramble-bushes, which bore a fine crop of blackberries that autumn, to the delight of the boys; and these bushes partly conceal the sharpness of the short descent. But once your attention is drawn to it, you see that it has all the appearance of having been artificially sloped, like a rampart, or rather a glacis. The grass is green and the sward soft, being moistened by the spring, except in one spot, where the grass is burnt up under the heat of the summer sun, indicating the existence of foundations beneath.
There is a beautiful view from this spot; but leaving that now, and wandering on among the fields, presently you may find a meadow of peculiar shape, extremely long and narrow, half a mile long, perhaps; and this the folk will tell you was the King's Drive, or ride. Stories there are, too, of subterranean passages--there are always such stories in the neighbourhood of ancient buildings--I remember one, said to be three miles long; it led to an abbey. The lane leads on, bordered with high hawthorn hedges, and occasionally a stout hawthorn tree, hardy and twisted by the strong hands of the passing years; thick now with red haws, and the haunt of the redwings, whose "chuck-chuck" is heard every minute; but the birds themselves always perch on the outer side of the hedge. They are not far ahead, but they always keep on the safe side, flying on twenty yards or so, but never coming to my side.
The little pond, which in summer was green with weed, is now yellow with the fallen hawthorn-leaves; the pond is choked with them. The lane has been slowly descending; and now, on looking through a gateway, an ancient building stands up on the hill, sharply defined against the sky. It is the banqueting hall of a palace of old times, in which kings and princes once sat at their meat after the chase. This is the centre of those dim stories which float like haze over the meadows around. Many a wild red stag has been carried thither after the hunt, and many a wild boar slain in the glades of the forest.
The acorns are dropping now as they dropped five centuries since, in the days when the wild boars fed so greedily upon them; the oaks are broadly touched with brown; the bramble thickets in which the boars hid, green, but strewn with the leaves that have fallen from the lofty trees. Though meadow, arable, and hop-fields hold now the place of the forest, a goodly remnant remains, for every hedge is full of oak and elm and ash; maple too, and the lesser bushes. At a little distance, so thick are the trees, the whole country appears a wood, and it is easy to see what a forest it must have been centuries ago.
The Prince leaving the grim walls of the Tower of London by the Water-gate, and dropping but a short way down with the tide, could mount his horse on the opposite bank, and reach his palace here, in the midst of the thickest woods and wildest country, in half an hour. Thence every morning setting forth upon the chase, he could pass the day in joyous labours, and the evening in feasting, still within call--almost within sound of horn--of the Tower, if any weighty matter demanded his presence.
In our time, the great city has widened out, and comes at this day down to within three miles of the hunting-palace. There still intervenes a narrow space between the last house of London and the ancient Forest Hall, a space of corn-field and meadow; the last house, for although not nominally London, there is no break of continuity in the bricks and mortar thence to London Bridge. London is within a stone's-throw, as it were, and yet, to this day the forest lingers, and it is country. The very atmosphere is different. That smoky thickness characteristic of the suburbs ceases as you ascend the gradual rise, and leave the outpost of bricks and mortar behind. The air becomes clear and strong, till on the brow by the spring on a windy day it is almost like sea-air. It comes over the trees, over the hills, and is sweet with the touch of grass and leaf. There is no gas, no sulphurous acid in that. As the Edwards and Henries breathed it centuries since, so it can be inhaled now. The sun that shone on the red deer is as bright now as then; the berries are thick on the bushes; there is colour in the leaf. The forest is gone; but the spirit of nature stays, and can be found by those who search for it. Dearly as I love the open air, I cannot regret the mediaeval days. I do not wish them back again, I would sooner fight in the foremost ranks of Time. Nor do we need them, for the spirit of nature stays, and will always be here, no matter to how high a pinnacle of thought the human mind may attain; still the sweet air, and the hills, and the sea, and the sun, will always be with us.
[The end]
Richard Jefferies's essay: Outside London