Nature Near London. Richard Jefferies
on, or to stop, and a faint rustling of straw, there is no sound. It may be the flood of brilliant light, or the mirage of the heat, but in some way the waggon and its rising load, the men and the horses, have an unreality of appearance.
The yellow wheat and stubble, the dull yellow of the waggon, toned down by years of weather, the green woods near at hand, darkening in the distance and slowly changing to blue, the cloudless sky, the heat-suffused atmosphere, in which things seem to float rather than to grow or stand, the shadowless field, all are there, and yet are not there, but far away and vision-like. The waggon, at last laden, travels away, and seems rather to disappear of itself than to be hidden by the trees. It is an effort to awake and move from the spot.
FOOTPATHS
"Always get over a stile," is the one rule that should ever be borne in mind by those who wish to see the land as it really is—that is to say, never omit to explore a footpath, for never was there a footpath yet which did not pass something of interest.
In the meadows, everything comes pressing lovingly up to the path. The small-leaved clover can scarce be driven back by frequent footsteps from endeavouring to cover the bare earth of the centre. Tall buttercups, round whose stalks the cattle have carefully grazed, stand in ranks; strong ox-eye daisies, with broad white disks and torn leaves, form with the grass the tricolour of the pasture—white, green, and gold.
When the path enters the mowing grass, ripe for the scythe, the simplicity of these cardinal hues is lost in the multitude of shades and the addition of other colours. The surface of mowing grass is indeed made up of so many tints that at the first glance it is confusing; and hence, perhaps, it is that hardly ever has an artist succeeded in getting the effect upon canvas. Of the million blades of grass no two are of the same shade.
Pluck a handful and spread them out side by side and this is at once evident. Nor is any single blade the same shade all the way up. There may be a faint yellow towards the root, a full green about the middle, at the tip perhaps the hot sun has scorched it, and there is a trace of brown. The older grass, which comes up earliest, is distinctly different in tint from that which has but just reached its greatest height, and in which the sap has not yet stood still.
Under all there is the new grass, short, sweet, and verdant, springing up fresh between the old, and giving a tone to the rest as you look down into the bunches. Some blades are nearly grey, some the palest green, and among them others, torn from the roots perhaps by rooks searching for grubs, are quite white. The very track of a rook through the grass leaves a different shade each side, as the blades are bent or trampled down.
The stalks of the bennets vary, some green, some yellowish, some brown, some approaching whiteness, according to age and the condition of the sap. Their tops, too, are never the same, whether the pollen clings to the surface or whether it has gone. Here the green is almost lost in red, or quite; here the grass has a soft, velvety look; yonder it is hard and wiry, and again graceful and drooping. Here there are bunches so rankly verdant that no flower is visible and no other tint but dark green; here it is thin and short, and the flowers, and almost the turf itself, can be seen; then there is an array of bennets (stalks which bear the grass-seed) with scarcely any grass proper.
Every variety of grass—and they are many—has its own colour, and every blade of every variety has its individual variations of that colour. The rain falls, and there is a darker tint at large upon the field, fresh but darker; the sun shines and at first the hue is lighter, but presently if the heat last a brown comes. The wind blows, and immediately as the waves of grass roll across the meadow a paler tint follows it.
A clouded sky dulls the herbage, a cloudless heaven brightens it, so that the grass almost reflects the firmament like water. At sunset the rosy rays bring out every tint of red or purple. At noonday, watch as alternate shadow and sunshine come one after the other as the clouds are wafted over. By moonlight perhaps the white ox-eyed daisies show the most. But never will you find the mowing grass in the same field looking twice alike.
Come again the day after to-morrow only, and there is a change; some of the grass is riper, some is thicker, with further blades which have pushed up, some browner. Cold northern winds cause it to wear a dry, withered aspect; under warm showers it visibly opens itself; in a hurricane it tosses itself wildly to and fro; it laughs under the sunshine.
There are thick bunches by the footpath, which hang over and brush the feet. While approaching there seems nothing there except grass, but in the act of passing, and thus looking straight down into them, there are blue eyes at the bottom gazing up. These specks of blue sky hidden in the grass tempt the hand to gather them, but then you cannot gather the whole field.
Behind the bunches where the grass is thinner are the heads of purple clover; pluck one of these, and while meditating draw forth petal after petal and imbibe the honey with the lips till nothing remains but the green framework, like stolen jewellery from which the gems have been taken. Torn pink ragged robins through whose petals a comb seems to have been remorselessly dragged, blue scabious, red knapweeds, yellow rattles, yellow vetchings by the hedge, white flowering parsley, white campions, yellow tormentil, golden buttercups, white cuckoo-flowers, dandelions, yarrow, and so on, all carelessly sown broadcast without order or method, just as negligently as they are named here, first remembered, first mentioned, and many forgotten.
Highest and coarsest of texture, the red-tipped sorrel—a crumbling red—so thick and plentiful that at sunset the whole mead becomes reddened. If these were in any way set in order or design, howsoever entangled, the eye might, as it were, get at them for reproduction. But just where there should be flowers there are none, whilst in odd places where there are none required there are plenty.
In hollows, out of sight till stumbled on, is a mass of colour; on the higher foreground only a dull brownish green. Walk all round the meadow, and still no vantage point can be found where the herbage groups itself, whence a scheme of colour is perceivable. There is no "artistic" arrangement anywhere.
So, too, with the colours—of the shades of green something has already been said—and here are bright blues and bright greens, yellows and pinks, positive discords and absolute antagonisms of tint side by side, yet without jarring the eye. Green all round, the trees and hedges; blue overhead, the sky; purple and gold westward, where the sun sinks. No part of this grass can be represented by a blur or broad streak of colour, for it is not made up of broad streaks. It is composed of innumerable items of grass blade and flower, each in itself coloured and different from its neighbour. Not one of these must be slurred over if you wish to get the same effect.
Then there are drifting specks of colour which cannot be fixed. Butterflies, white, parti-coloured, brown, and spotted, and light blue flutter along beside the footpath; two white ones wheel about each other, rising higher at every turn till they are lost and no more to be distinguished against a shining white cloud. Large dark humble bees roam slowly, and honey bees with more decided flight. Glistening beetles, green and gold, run across the bare earth of the path, coming from one crack in the dry ground and disappearing in the (to them) mighty chasm of another.
Tiny green "hoppers"—odd creatures shaped something like the fancy frogs of children's story-books—alight upon it after a spring, and pausing a second, with another toss themselves as high as the highest bennet (veritable elm-trees by comparison), to fall anywhere out of sight in the grass. Reddish ants hurry over. Time is money; and their business brooks no delay.
Bee-like flies of many stripes and parti-coloured robes face you, suspended in the air with wings vibrating so swiftly as to be unseen; then suddenly jerk themselves a few yards to recommence hovering. A greenfinch rises with a yellow gleam and a sweet note from the grass, and is off with something for his brood, or a starling, solitary now, for his mate is in the nest, startled from his questing, goes straight away.
Dark starlings, greenfinch, gilded fly, glistening beetle, blue butterfly, humble bee with scarf about his thick waist, add their moving dots of colour to the surface. There is no design, no balance, nothing