Great artists such as Gainsborough, Turner and Reubens speak to us down the centuries through their work as do poets but how many people still read the great – or the lesser – writers from years past? The Bible is still read regularly by some, Shakespeare’s more famous lines are often quoted and we all think we know Bronte and Dickens whereas, in reality, most of us know the characters only as interpreted through television and film. However, authors from past centuries still have much to offer whether it be for historical background, research or, simply, pleasure.
I have always lived in the country and my fascination with the natural world began at a very early age. My kindergarten class was taken on a nature walk and, as our teacher showed us the magical things to be found along the way, I became hooked and wanted to know more. There are many excellent wildlife manuals and handbooks, new and old, that give detailed descriptions more often than not, in a rather dry, analytical way. Wouldn’t it be wonderful if there was someone who could give all this information in great detail; who would notice the minutiae of everyday things, whether a flower, a wild creature or even of man, himself? In the late nineteenth century there was one such person, now forgotten by most, and his name is Richard Jefferies – most definitely not a poet but there is poetry in his words.
Jefferies, born in 1848, in a Wiltshire (England) farmhouse suffered ill-health and subsequent poverty for much of his life. From a young age he had enjoyed solitude and wandering about the countryside and here he developed a fascination for the Iron Age hill fort on nearby Liddington Hill and the wildlife that could be found there. Employment as a reporter, initially with a local newspaper, developed his writing skills and his literary work began to be published, first as a series of essays and later in book form, from 1874. He died from tuberculosis in 1887. His books vary from collections of nature notes and the countrymen he encountered on his travels to novels, including one, After London, which would now be described as post-apocalyptical. In it he describes how nature has taken over the now vanished city with its few surviving inhabitants returning to the lifestyle of many centuries before. Jefferies still has his devotees, myself included, and he deserves better recognition. The remainder of this post is my demonstration of how his words are of relevance to everyone today, especially those who are passionate about the wonders of nature – not the awe-inspiring world famous creatures or places but the everyday ones, found all around us, that should be equally awe-inspiring.
Nothing sums up my feelings towards the natural world better than these words of his. They almost seem to have been written to illustrate this photograph of myself aged four with my father.
“So it seemed to me as a boy, sweet and new like this each morning; and now after the years they have passed, and the lines they have worn in the forehead, the summer mead shines as bright and fresh as when my foot first touched the grass…”
The Open Air, 1885
“Next he stepped into the current, which, though shallow, looked strong enough to sweep him away. The water checked against him rose to the white mark on his breast. He waded up the rapid, every now and then thrusting his head completely under the water; sometimes he was up to his neck, sometimes not so deep; now and then getting on a stone…” The Water Colley (Dipper), The Life of the Fields, 1884
“In the evening of a fine day the mists may be seen from hence as they rise in the meadows … beginning first over the brooks, a long white winding vapour marking their course, next extending over the moist places and hollows.”
Wild Life in a Southern County, 1879
“Sometimes through these narrow slits (of cloud), long beams of light fall aslant upon the distant fields of the vale. They resemble, only on a greatly lengthened scale, the beams that may be seen in churches of a sunny afternoon, falling from the upper windows on the tiled floor of the chancel, and made visible by motes in the air. So through such slits in the cloudy roof of the sky the rays of the sun shoot downwards, made visible on their passage by the moisture or the motes of the atmosphere… the labourers say that the sun is sucking up water there.”
Wild Life in a Southern County, 1879
“It is midsummer, and midsummer, like a bride, is decked in white. On the high-reaching briars
white June roses; white flowers on the lowly brambles; broad white umbels of elder in the corner, and white cornels blooming under the elm; honeysuckle hanging creamy white coronals round the ash boughs; white meadow-sweet flowering on the shore of the ditch; white clover, too, beside the gateway. As spring is azure and purple, so midsummer is white, and autumn golden. Thus the coming out of the wheat into ear is marked and welcomed with the purest colour.”
Nature Near London, 1883
“…and finally is lost in the vast marshes which cover the site of the ancient London… There exhales from this oozy mass so fatal a vapour that no animal can endure it. The black water bears a greenish-brown floating scum, which for ever bubbles up from the putrid mud of the bottom. When the wind collects the miasma, and, as it were, presses it together, it becomes visible as a low cloud which hangs over the place. The cloud does not advance beyond the limit of the marsh, seeming to stay there by some constant attraction; and well it is for us that it does not, since at such times when the vapour is thickest, the very wildfowl leave the reeds, and fly from the poison. There are no fishes, neither can eels exist in the mud, nor even newts. It is dead.”
After London, 1885
“…the heat pours down by day as if an invisible lens in the atmosphere focussed the sun’s rays.
Strong woody knapweed endures it, so does toadflax and pale blue scabious, and wild mignonette…”
Pageant of Summer, 1884
“Nature is a miniature painter and handles a delicate brush, the tip of which touches the tiniest
spot and leaves something living. The park has indeed its larger lines, its broad open sweep,
and gradual slope, to which the eye accustomed to small inclosures requires time to adjust
itself. These left to themselves are beautiful; they are the surface of the earth, which is always true
to itself and needs no banks nor artificial hollows. The earth is right and the tree is right: trim
either and all is wrong.”
Field & Hedgerow, 1889
Fortunately, much of his work is still readily available as books and, often, as free e-books. The Richard Jefferies Society promotes his writing and holds regular meetings. Visit their website by clicking the link
here. The farmhouse where Richard Jefferies grew up is now a museum dedicated to his life and work and well worth visiting. Click
here for details.
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