The Story of My Heart. Richard Jefferies
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I could have been in physical shape like these, how despicable in comparison I am; to be shapely of form is so infinitely beyond wealth, power, fame, all that ambition can give, that these are dust before it. Unless of the human form, no pictures hold me; the rest are flat surfaces. So, too, with the other arts, they are dead; the potters, the architects, meaningless, stony, and some repellent, like the cold touch of porcelain. No prayer with these. Only the human form in art could raise it, and most in statuary. I have seen so little good statuary, it is a regret to me; still, that I have is beyond all other art. Fragments here, a bust yonder, the broken pieces brought from Greece, copies, plaster casts, a memory of an Aphrodite, of a Persephone, of an Apollo, that is all; but even drawings of statuary will raise the prayer. These statues were like myself full of a thought, for ever about to burst forth as a bud, yet silent in the same attitude. Give me to live the soul-life they express. The smallest fragment of marble carved in the shape of the human arm will wake the desire I felt in my hill-prayer.
Time went on; good fortune and success never for an instant deceived me that they were in themselves to be sought; only my soul-thought was worthy. Further years bringing much suffering, grinding the very life out; new troubles, renewed insults, loss of what hard labour had earned, the bitter question: Is it not better to leap into the sea? These, too, have made no impression; constant still to the former prayer my mind endures. It was my chief regret that I had not endeavoured to write these things, to give expression to this passion. I am now trying, but I see that I shall only in part succeed.
The same prayer comes to me at this very hour. It is now less solely associated with the sun and sea, hills, woods, or beauteous human shape. It is always within. It requires no waking; no renewal; it is always with me. I am it; the fact of my existence expresses it.
After a long interval, I came to the hills again, this time by the coast. I found a deep hollow on the side of a great hill, a green concave opening to the sea, where I could rest and think in perfect quiet. Behind me were furze bushes dried by the heat; immediately in front dropped the steep descent of the bowl-like hollow which received and brought up to me the faint sound of the summer waves. Yonder lay the immense plain of sea, the palest green under the continued sunshine, as though the heat had evaporated the colour from it; there was no distinct horizon, a heat-mist inclosed it and looked farther away than the horizon would have done. Silence and sunshine, sea and hill gradually brought my mind into the condition of intense prayer. Day after day, for hours at a time, I came there, my soul-desire always the same. Presently I began to consider how I could put a part of that prayer into form, giving it an object. Could I bring it into such a shape as would admit of actually working upon the lines it indicated for any good?
One evening, when the bright white star in Lyra was shining almost at the zenith over me, and the deep concave was the more profound in the dusk, I formulated it into three divisions. First, I desired that I might do or find something to exalt the soul, something to enable it to live its own life, a more powerful existence now. Secondly, I desired to be able to do something for the flesh, to make a discovery or perfect a method by which the fleshly body might enjoy more pleasure, longer life, and suffer less pain. Thirdly, to construct a more flexible engine with which to carry into execution the design of the will. I called this the Lyra prayer, to distinguish it from the far deeper emotion in which the soul was alone concerned.
Of the three divisions, the last was of so little importance that it scarcely deserved to be named in conjunction with the others. Mechanism increases convenience—in no degree does it confer physical or moral perfection. The rudimentary engines employed thousands of years ago in raising buildings were in that respect equal to the complicated machines of the present day. Control of iron and steel has not altered or improved the bodily man. I even debated some time whether such a third division should be included at all. Our bodies are now conveyed all round the world with ease, but obtain no advantage. As they start so they return. The most perfect human families of ancient times were almost stationary, as those of Greece. Perfection of form was found in Sparta; how small a spot compared to those continents over which we are now taken so quickly! Such perfection of form might perhaps again dwell, contented and complete in itself, on such a strip of land as I could see between me and the sand of the sea. Again, a watch keeping correct time is no guarantee that the bearer shall not suffer pain. The owner of the watch may be soulless, without mind-fire, a mere creature. No benefit to the heart or to the body accrues from the most accurate mechanism. Hence I debated whether the third division should be included. But I reflected that time cannot be put back on the dial, we cannot return to Sparta; there is an existent state of things, and existent multitudes; and possibly a more powerful engine, flexible to the will, might give them that freedom which is the one, and the one only, political or social idea I possess. For liberty, therefore, let it be included.
For the flesh, this arm of mine, the limbs of others gracefully moving, let me find something that will give them greater perfection. That the bones may be firmer, somewhat larger if that would be an advantage, certainly stronger, that the cartilage and sinews may be more enduring, and the muscles more powerful, something after the manner of those ideal limbs and muscles sculptured of old, these in the flesh and real. That the organs of the body may be stronger in their action, perfect, and lasting. That the exterior flesh may be yet more beautiful; that the shape may be finer, and the motions graceful. These are the soberest words I can find, purposely chosen; for I am so rapt in the beauty of the human form, and so earnestly, so inexpressibly, prayerful to see that form perfect, that my full thought is not to be written. Unable to express it fully, I have considered it best to put it in the simplest manner of words. I believe in the human form; let me find something, some method, by which that form may achieve the utmost beauty. Its beauty is like an arrow, which may be shot any distance according to the strength of the bow. So the idea expressed in the human shape is capable of indefinite expansion and elevation of beauty.
Of the mind, the inner consciousness, the soul, my prayer desired that I might discover a mode of life for it, so that it might not only conceive of such a life, but actually enjoy it on the earth. I wished to search out a new and higher set of ideas on which the mind should work. The simile of a new book of the soul is the nearest to convey the meaning—a book drawn from the present and future, not the past. Instead of a set of ideas based on tradition, let me give the mind a new thought drawn straight from the wondrous present, direct this very hour. Next, to furnish the soul with the means of executing its will, of carrying thought into action. In other words, for the soul to become a power. These three formed the Lyra prayer, of which the two first are immeasurably the more important. I believe in the human being, mind and flesh; form and soul.
It happened just afterwards that I went to Pevensey, and immediately the ancient wall swept my mind back seventeen hundred years to the eagle, the pilum, and the short sword. The grey stones, the thin red bricks laid by those whose eyes had seen Caesar’s Rome, lifted me out of the grasp of house-life, of modern civilisation, of those minutiae which occupy the moment. The grey stone made me feel as if I had existed from then till now, so strongly did I enter into and see my own life as if reflected. My own existence was focused back on me; I saw its joy, its unhappiness, its birth, its death, its possibilities among the infinite, above all its yearning Question. Why? Seeing it thus clearly, and lifted out of the moment by the force of seventeen centuries, I recognised the full mystery and the depths of things in the roots of the dry grass on the wall, in the green sea flowing near. Is there anything I can do? The mystery and the possibilities are not in the roots of the grass, nor is the depth of things in the sea; they are in my existence, in my soul. The marvel of existence, almost the terror of it, was flung on me with crushing force by the sea, the sun shining, the distant hills. With all their ponderous weight they made me feel myself: all the time, all the centuries made me feel myself this moment a hundred-fold. I determined that I would endeavour to write what I had so long thought of, and the same evening put down one sentence. There the sentence remained two years. I tried to carry it on; I hesitated because I could not express it: nor can I now, though in desperation I am throwing these rude stones of thought together, rude as those of the ancient wall.
For Jefferies, the human form is nature at its zenith. He wrote this chapter suffering from tuberculosis, the illness that would kill him