The Open Air. Richard Jefferies
Читать онлайн книгу.
without consideration of those ideals and hopes afterwards associated with the azure sky above the fir-tree. A fresh footpath, a fresh flower, a fresh delight. The reeds, the grasses, the rushes—unknown and new things at every step—something always to find; no barren spot anywhere, or sameness. Every day the grass painted anew, and its green seen for the first time; not the old green, but a novel hue and spectacle, like the first view of the sea.
If we had never before looked upon the earth, but suddenly came to it man or woman grown, set down in the midst of a summer mead, would it not seem to us a radiant vision? The hues, the shapes, the song and life of birds, above all the sunlight, the breath of heaven, resting on it; the mind would be filled with its glory, unable to grasp it, hardly believing that such things could be mere matter and no more. Like a dream of some spirit-land it would appear, scarce fit to be touched lest it should fall to pieces, too beautiful to be long watched lest it should fade away. So it seemed to me as a boy, sweet and new like this each morning; and even now, after the years that 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. It has another meaning now; the sunshine and the flowers speak differently, for a heart that has once known sorrow reads behind the page, and sees sadness in joy. But the freshness is still there, the dew washes the colours before dawn. Unconscious happiness in finding wild flowers—unconscious and unquestioning, and therefore unbounded.
I used to stand by the mower and follow the scythe sweeping down thousands of the broad-flowered daisies, the knotted knapweeds, the blue scabious, the yellow rattles, sweeping so close and true that nothing escaped; and, yet although I had seen so many hundreds of each, although I had lifted armfuls day after day, still they were fresh. They never lost their newness, and even now each time I gather a wild flower it feels a new thing. The greenfinches came to the fallen swathe so near to us they seemed to have no fear; but I remember the yellowhammers most, whose colour, like that of the wild flowers and the sky, has never faded from my memory. The greenfinches sank into the fallen swathe, the loose grass gave under their weight and let them bathe in flowers.
One yellowhammer sat on a branch of ash the livelong morning, still singing in the sun; his bright head, his clean bright yellow, gaudy as Spain, was drawn like a brush charged heavily with colour across the retina, painting it deeply, for there on the eye's memory it endures, though that was boyhood and this is manhood, still unchanged. The field—Stewart's Mash—the very tree, young ash timber, the branch projecting over the sward, I could make a map of them. Sometimes I think sun-painted colours are brighter to me than to many, and more strongly affect the nerves of the eye. Straw going by the road on a dusky winter's day seems so pleasantly golden, the sheaves lying aslant at the top, and these bundles of yellow tubes thrown up against the dark ivy on the opposite wall. Tiles, red burned, or orange coated, the sea sometimes cleanly definite, the shadows of trees in a thin wood where there is room for shadows to form and fall; some such shadows are sharper than light, and have a faint blue tint. Not only in summer but in cold winter, and not only romantic things but plain matter-of-fact things, as a waggon freshly painted red beside the wright's shop, stand out as if wet with colour and delicately pencilled at the edges. It must be out of doors; nothing indoors looks like this.
Pictures are very dull and gloomy to it, and very contrasted colours like those the French use are necessary to fix the attention. Their dashes of pink and scarlet bring the faint shadow of the sun into the room. As for our painters, their works are hung behind a curtain, and we have to peer patiently through the dusk of evening to see what they mean. Out-of-door colours do not need to be gaudy—a mere dull stake of wood thrust in the ground often stands out sharper than the pink flashes of the French studio; a faggot; the outline of a leaf; low tints without reflecting power strike the eye as a bell the ear. To me they are intensely clear, and the clearer the greater the pleasure. It is often too great, for it takes me away from solid pursuits merely to receive the impression, as water is still to reflect the trees. To me it is very painful when illness blots the definition of outdoor things, so wearisome not to see them rightly, and more oppressive than actual pain. I feel as if I was struggling to wake up with dim, half-opened lids and heavy mind. This one yellowhammer still sits on the ash branch in Stewart's Mash over the sward, singing in the sun, his feathers freshly wet with colour, the same sun-song, and will sing to me so long as the heart shall beat.
The first conscious thought about wild flowers was to find out their names—the first conscious pleasure—and then I began to see so many that I had not previously noticed. Once you wish to identify them there is nothing escapes, down to the little white chickweed of the path and the moss of the wall. I put my hand on the bridge across the brook to lean over and look down into the water. Are there any fish? The bricks of the pier are covered with green, like a wall-painting to the surface of the stream, mosses along the lines of the mortar, and among the moss little plants—what are these? In the dry sunlit lane I look up to the top of the great wall about some domain, where the green figs look over upright on their stalks; there are dry plants on the coping—what are these? Some growing thus, high in the air, on stone, and in the chinks of the tower, suspended in dry air and sunshine; some low down under the arch of the bridge over the brook, out of sight utterly, unless you stoop by the brink of the water and project yourself forward to examine under. The kingfisher sees them as he shoots through the barrel of the culvert. There the sun direct never shines upon them, but the sunlight thrown up by the ripples runs all day in bright bars along the vault of the arch, playing on them. The stream arranges the sand in the shallow in bars, minute fixed undulations; the stream arranges the sunshine in successive flashes, undulating as if the sun, drowsy in the heat, were idly closing and unclosing his eyelids for sleep.
Plants everywhere, hiding behind every tree, under the leaves, in the shady places, behind the dry furrows of the field; they are only just behind something, hidden openly. The instant you look for them they multiply a hundredfold; if you sit on the beach and begin to count the pebbles by you, their number instantly increases to infinity by virtue of that conscious act.
The bird's-foot lotus was the first. The boy must have seen it, must have trodden on it in the bare woodland pastures, certainly run about on it, with wet naked feet from the bathing; but the boy was not conscious of it. This was the first, when the desire came to identify and to know, fixing upon it by means of a pale and feeble picture. In the largest pasture there were different soils and climates; it was so large it seemed a little country of itself then—the more so because the ground rose and fell, making a ridge to divide the view and enlarge by uncertainty. The high sandy soil on the ridge where the rabbits had their warren; the rocky soil of the quarry; the long grass by the elms where the rooks built, under whose nests there were vast unpalatable mushrooms—the true mushrooms with salmon gills grew nearer the warren; the slope towards the nut-tree hedge and spring. Several climates in one field: the wintry ridge over which leaves were always driving in all four seasons of the year; the level sunny plain and fallen cromlech still tall enough for a gnomon and to cast its shadow in the treeless drought; the moist, warm, grassy depression; the lotus-grown slope, warm and dry.
If you have been living in one house in the country for some time, and then go on a visit to another, though hardly half a mile distant, you will find a change in the air, the feeling, and tone of the place. It is close by, but it is not the same. To discover these minute differences, which make one locality healthy and home happy, and the next adjoining unhealthy, the Chinese have invented the science of Feng-shui, spying about with cabalistic mystery, casting the horoscope of an acre. There is something in all superstitions; they are often the foundation of science. Superstition having made the discovery, science composes a lecture on the reason why, and claims the credit. Bird's-foot lotus means a fortunate spot, dry, warm—so far as soil is concerned. If you were going to live out of doors, you might safely build your kibitka where you found it. Wandering with the pictured flower-book, just purchased, over the windy ridge where last year's skeleton leaves, blown out from the alder copse below, came on with grasshopper motion—lifted and laid down by the wind, lifted and laid down—I sat on the sward of the sheltered slope, and instantly recognised the orange-red claws of the flower beside me. That was the first; and this very morning, I dread to consider how many years afterwards, I found a plant on a wall which I do not know. I shall have to trace out its genealogy and emblazon its shield. So many years and still only at the beginning—the beginning,