What a pity Jefferies should have given us "Amaryllis at the Fair," and "After London"!—this opinion has been propagated with such fervency that it seems almost a pity to disturb it by inquiring into the nature of these his achievements. Certainly the critics, and their critical echoes, are united. "He wrote some later novels of indifferent merit," says a critic in "Chambers' Encyclopædia." "Has anyone ever been able to write with free and genuine appreciation of even the later novels?" asks or echoes a lady, Miss Grace Toplis, writing on Jefferies. "In brief, he was an essayist and not a novelist at all," says Mr. Henry Salt. "It is therefore certain that his importance for posterity will dwindle, if it has not already dwindled, to that given by a bundle of descriptive selections. But these will occupy a foremost place on their particular shelf, the shelf at the head of which stands Gilbert White and Gray," says Mr. George Saintsbury. "He was a reporter of genius, and he never got beyond reporting. Mr. Besant has the vitalising imagination which Jefferies lacked," says Mr. Henley in his review of Walter Besant's "Eulogy of Richard Jefferies"; and again, "They are not novels as he (Walter Besant) admits, they are a series of pictures. … That is the way he takes Jefferies at Jefferies' worst." Yes, it is very touching this unanimity, and it is therefore a pleasure for this critic to say that in his judgment "Amaryllis at the Fair" is one of the very few later-day novels of English country life that are worth putting on one's shelf, and that to make room for it he would turn out certain highly-praised novels by Hardy which do not ring quite true, novels which the critics and the public, again with touching unanimity, have voted to be of high rank. But what is a novel? the reader may ask. A novel, says the learned Charles Annandale, is "a fictitious prose narrative, involving some plot of greater or less intricacy, and professing to give a picture of real life, generally exhibiting the passions and sentiments, in a state of great activity, and especially the passion of love." Well, "Amaryllis at the Fair" is a fictitious prose narrative professing to give a picture of real life, and involving a plot of little intricacy. Certainly it exhibits the passions and sentiments in a state of great activity. But Mr. Henry Salt, whose little book on Jefferies is the best yet published, further remarks: "Jefferies was quite unable to give any vivid dramatic life to his stories … his instinct was that of the naturalist who observes and moralizes rather than that of the novelist who penetrates and interprets; and consequently his rustic characters, though strongly and clearly drawn, do not live, as, for example, those of Thomas Hardy live. … Men and animals are alike mere figures in his landscapes."
So far the critics. Jefferies being justly held to be "no ordinary novelist," it is inferred by most that something is wrong with "Amaryllis the Fair," and the book has been passed over in silence. But we do not judge every novel by the same test. We do not judge "Tristram Shandy," for example, by its intricate plot, or by its "vivid drama," we judge it simply as an artistic revelation of human life and by its humorous insight into human character. And judged by the same simple test "Amaryllis at the Fair," we contend, is a living picture of life, a creative work of imagination of a high order. Iden, the unsuccessful farmer who "built for all time, and not for the circumstances of the hour," is a masterly piece of character drawing. But Iden is a personal portrait, the reader may object, Well, what about Uncle Toby? From what void did he spring? Iden, to our mind, is almost as masterly a conception, as broadly human a figure as Uncle Toby. And Mrs. Iden, where will you find this type of nervous, irritable wife, full of spiteful disillusioned love for her dilatory husband better painted than by Jefferies? But Mrs. Iden is a type, not an individual, the reader may say. Excellent reader! and what about the Widow Wadman? She is no less and no more of an individual than is Mrs. Iden. It was a great feat of Sterne to create so cunningly the atmosphere of the Shandy household, but Jefferies has accomplished an artistic feat also in drawing the relations of the Idens, father, mother, and daughter. How true, how unerringly true to human nature is this picture of the Iden household; how delicately felt and rendered to a hair is his picture of the father's sluggish, masculine will, pricked ineffectually by the waspish tongue of feminine criticism. Further, we not only have the family's idiosyncrasies, their habits, mental atmosphere, and domestic story brought before us in a hundred pages, easily and instinctively by the hand of the artist, but we have the whole book steeped in the breath of English spring, the restless ache of spring that thrills through the nerves, and stirs the sluggish winter blood; we have the spring feeling breaking from the March heavens and the March earth in copse, meadow, and ploughland, as it has scarcely been rendered before by English novelist. The description of Amaryllis running out into the March wind to call her father from his potato planting to see the daffodil; the picture of Iden pretending to sleep in his chair that he may watch the mice; the description of the girl Amaryllis watching the crowd of plain, ugly men of the countryside flocking along the road to the fair; the description of Amadis the invalid, in the old farm kitchen among the stalwart country folk—all these pictures and a dozen others in the book are painted with a masterly hand. Pictures! the critical reader may complain. Yes, pictures of living men and women. What does it matter whether a revelation of human life is conveyed to us by pictures or by action so long as it is conveyed? Mr. Saintsbury classes Jefferies with Gray, presumably because both writers have written of the English landscape. With Gray! Jefferies in his work as a naturalist and observer of wild life may be classed merely for convenience with Gilbert White. But this classification only applies to one half of Jefferies' books. By his "Wild Life in a Southern County" he stands beside Gilbert White; by his "Story of My Heart" he stands by himself, a little apart from the poets, and by "Amaryllis at the Fair" he stands among the half-dozen country writers of the century whose work is racy of the English soil and of rural English human nature. We will name three of these writers, Barnes, Cobbett, Waugh, and our attentive readers can name the other three.
To come back to "Amaryllis at the Fair," why is it so masterly, or, further, wherein is it so masterly, the curious reader may inquire? "Is it not full of digressions? Granted that the first half of the 'novel' is beautiful in style, does not Jefferies suddenly break his method, introduce his own personality, intersperse abrupt disquisitions on food, illness, and Fleet Street? Is not that description of Iden's dinner a little—well, a little unusual? In short, is not the book a disquisition on life from the standpoint of Jefferies' personal experiences? And if this is so, how can the book be so fine an achievement?" Oh, candid reader, with the voice of authority sounding in your ears (and have we not Mr. Henley and Mr. Saintsbury bound in critical amity against us), a book may break the formal rules, and yet it may yield to us just that salt of life which we may seek for vainly in the works of more faultless writers. The strength of "Amaryllis at the Fair" is that its beauty springs naturally from the prosaic earthly facts of life it narrates, and that, in the natural atmosphere breathed by its people, the prose and the poetry of their life are one. In the respect of the artistic naturalness of its homely picture, the book is very superior to, say "The Mayor of Casterbridge," where we are conscious that the author has been at work arranging and rearranging his charming studies and impressions of the old-world people of Casterbridge into the pattern of an exciting plot. Now it is precisely in the artificed dramatic story of "The Mayor of Casterbridge"—and we cite this novel as characteristic, both in its strength and weakness, of its distinguished author—that we are brought to feel that we have not been shown the characters of Casterbridge going their way in life naturally, but that they have been moved about, kaleidoscopically, to suit the exigencies of the plot, and that the more this is so the less significance for us have their thoughts and actions. Watching the quick whirling changes of Farfrae and Lucetta, Henchard and Newson in the matrimonial mazes of the story, and listening to the chorus of the rustics in the wings, we perceive indeed whence comes that atmosphere of stage crisis and stage effect which suddenly introduces a disillusioning sense of unreality, and mars the artistic unity of this charming picture, so truthful in other respects to English rural life. Plot is Mr. Hardy's weakness, and perfect indeed and convincing would have been his pictures, if he could have thrown his plots and his rustic choruses to the four winds. May we not be thankful, therefore, that Jefferies was no hand at elaborating a plot, and that in "Amaryllis at the Fair," the scenes, the descriptions, the conversations are spontaneous as life, and that Jefferies' commentary on them is like Fielding's commentary, a medium by which he lives with his characters. The author's imagination, memory, and instinctive perception are, indeed, all working together; and so his picture of human life in "Amaryllis" brings with it as convincing and as fresh a breath of life as we find in Cobbett's, Waugh's and Barnes' country writings. When a writer arrives at being perfectly natural in his atmosphere, his style and his subject seem to become one. He moves easily and surely. Out of the splintered mass of ideas and emotions, out of the sensations, the observations and revelations of his youth, and the atmosphere familiar to him through long feeling, he builds up a subtle and cunning picture for us, a complete illusion of life more true than the reality. For what prosaic people call the reality is merely the co-ordination in their own minds of perhaps a thousandth part of aspects of the life around them; and only this thousandth part they have noticed. But the creative mind builds up a living picture out of the thousands of aspects most of us are congenitally blind to. This is what Jefferies has done in "Amaryllis at the Fair." The book is rich in the contradictory forces of life, in its quick twists and turns: we feel in it there is nature working alike in the leaves of grass outside the Idens' house, in the blustering winds round the walls, and in the minds of the characters indoors; and the style has the freshness of the April wind. Everything is growing, changing, breathing in the book. But the accomplished critics do not notice these trivial strengths. It is enough for them that Jefferies was not a novelist! Indeed, Mr. Saintsbury apparently thinks that Jefferies made a mistake in drawing his philosophy from an open-air study of nature, for he writes: "Unfortunately for Jefferies his philosophic background was not like Wordsworth's clear and cheerful, but wholly vague and partly gloomy." It was neither vague nor gloomy, we may remark, parenthetically, but we may admit that Jefferies saw too deeply into nature's workings, and had too sensuous a joy in life to interpret all Nature's doings, à la Wordsworth, and lend them a portentously moral significance.
The one charge that may with truth be brought against "Amaryllis at the Fair" is that its digressions damage the artistic illusion of the whole. The book shows the carelessness, the haste, the roughness of a sketch, a sketch, moreover, which Jefferies was not destined to carry to the end he had planned, but we repeat, let us be thankful that its artistic weaknesses are those of a sketch direct from nature, rather than those of an ambitious studio picture. And these digressions are an integral part of the book's character, just as the face of a man has its own blemishes: they are one with the spirit of the whole, and so, if they break somewhat the illusion of the scenes, they do not damage its spiritual unity. It is this spiritual unity on which we must insist, because "Amaryllis" is indeed Jefferies' last and complete testament on human life. He wrote it, or rather dictated it to his wife, as he lay in pain, slowly dying, and he has put into it the frankness of a dying man. How real, how solid, how deliciously sweet seemed those simple earthly joys, those human appetites of healthy, vigorous men to him! how intense is his passion and spiritual hunger for the beauty of earth! Like a flame shooting up from the log it is consuming, so this passion for the green earth, for the earth in wind and rain and sunshine, consumes the wasted, consumptive body of the dying man. The reality, the solidity of the homely farmhouse life he describes spring from the intensity with which he clings to all he loves, the cold March wind buffeting the face, the mating cries of the birds in the hot spring sunshine. Life is so terribly strong, so deliciously real, so full of man's unsatisfied hungry ache for happiness; and sweet is the craving, bitter the knowledge of the unfulfilment. So, inspiring and vivifying the whole, in every line of "Amaryllis" is Jefferies' philosophy of life. Jefferies "did not understand human nature," say the accomplished critics. Did he not? "Amaryllis at the Fair" is one of the truest criticisms of human life, oh reader, you are likely to meet with. The mixedness of things, the old, old human muddle, the meanness and stupidity and shortsightedness of humanity, the good salty taste of life in the healthy mouth, the spirituality of love, the strong earthy roots of appetite, man's lust of life, with circumstances awry, and the sharp wind blowing alike on the just and the unjust—all is there on the printed page of "Amaryllis at the Fair." The song of the wind and the roar of London unite and mingle therein for those who do not bring the exacting eye of superiority to this most human book.
[1] Reprinted in part from "The Academy" of April 4th, 1903.
There are no damask roses now, like there used to be in summer at Coombe Oaks. I have never seen one since I last gathered one from that very bush. There are many grand roses, but no fragrance—the fragrance is gone out of life. Instinctively as I pass gardens in summer I look under the shade of the trees for the old roses, but they are not to be found. The dreary nurseries of evergreens and laurels—cemeteries they should be called, cemeteries in appearance and cemeteries of taste—are innocent of such roses. They show you an acre of what they call roses growing out of dirty straw, spindly things with a knob on the top, which even dew can hardly sweeten. "No call for damask roses—wouldn't pay to grow they. Single they was, I thinks. No good. These be cut every morning and fetched by the flower-girls for gents' button-holes and ladies' jackets. You won't get no damask roses; they be died out."
I think in despite of the nurseryman, or cemetery-keeper, that with patience I could get a damask rose even now by inquiring about from farmhouse to farmhouse. In time some old farmer, with a good old taste for old roses and pinks, would send me one; I have half a mind to try. But, alas! it is no use, I have nowhere to put it; I rent a house which is built in first-rate modern style, though small, of course, and there is a "garden" to it, but no place to put a damask rose. No place, because it is not "home," and I cannot plant except round "home." The plot or "patch" the landlord calls "the garden"—it is about as wide as the border round a patch, old style—is quite vacant, bare, and contains nothing but mould. It is nothing to me, and I cannot plant it.
Not only are there no damask roses, but there is no place for them now-a-days, no "home," only villas and rented houses. Anything rented in a town can never be "home."
Farms that were practically taken on a hundred and twenty, or fifty, or perhaps two hundred years' leases were "homes." Consequently they had damask roses, bees, and birds about them.
There had been daffodils in that spot at least a century, opening every March to the dry winds that shrivel up the brown dead leaves of winter, and carry them out from the bushes under the trees, sending them across the meadow—fleeing like a routed army before the bayonets of the East. Every spring for a century at least the daffodils had bloomed there.
Amaryllis did not stay to think of the century, but ran round the corner of the house, and came face to face with the east wind, which took her with such force as to momentarily stay her progress. Her skirts were blown out horizontally, her ankles were exposed, and the front line of her shape (beginning to bud like spring) was sketched against the red brick wall. She laughed, but the strong gale filled her throat as if a hand had been thrust down it; the wind got its edge like a knife under her eyelids, between them and the eyeballs, and seemed as if it would scoop them out; her eyes were wet with involuntary tears; her lips dried up and parched in a moment. The wind went through her thick stockings as if the wool was nothing. She lifted her hand to defend her eyes, and the skin of her arm became "goosey" directly. Had she worn hat or bonnet it would have flown. Stooping forwards, she pushed step by step, and gradually reached the shelter of the high garden wall; there she could stand upright, and breathe again.
Her lips, which had been whitened by the keen blast, as if a storm of ice particles had been driven against them, now resumed their scarlet, but her ears were full of dust and reddened, and her curly dark hair was dry and rough and without gloss. Each separate hair separated itself from the next, and would not lie smooth—the natural unctuous essence which usually caused them to adhere was dried up.
The wind had blown thus round that corner every March for a century, and in no degree abated its bitter force because a beautiful human child, full of the happiness of a flower, came carelessly into its power. Nothing ever shows the least consideration for human creatures.
The moss on the ridge of the wall under which she stood to breathe looked shrivelled and thin, the green tint dried out of it. A sparrow with a straw tried hard to reach the eaves of the house to put it in his nest, but the depending straw was caught by the breeze as a sail, and carried him past.
Under the wall was a large patch recently dug, beside the patch a grass path, and on the path a wheelbarrow. A man was busy putting in potatoes; he wore the raggedest coat ever seen on a respectable back. As the wind lifted the tails it was apparent that the lining was loose and only hung by threads, the cuffs were worn through, there was a hole beneath each arm, and on each shoulder the nap of the cloth was gone; the colour, which had once been grey, was now a mixture of several soils and numerous kinds of grit. The hat he had on was no better; it might have been made of some hard pasteboard, it was so bare. Every now and then the wind brought a few handfuls of dust over the wall from the road, and dropped it on his stooping back.
The way in which he was planting potatoes was wonderful, every potato was placed at exactly the right distance apart, and a hole made for it in the general trench; before it was set it was looked at and turned over, and the thumb rubbed against it to be sure that it was sound, and when finally put in, a little mould was delicately adjusted round to keep it in its right position till the whole row was buried. He carried the potatoes in his coat pocket—those, that is, for the row—and took them out one by one; had he been planting his own children he could not have been more careful. The science, the skill, and the experience brought to this potato-planting you would hardly credit; for all this care was founded upon observation, and arose from very large abilities on the part of the planter, though directed to so humble a purpose at that moment.
So soon as Amaryllis had recovered breath, she ran down the grass path and stood by the wheelbarrow, but although her shadow fell across the potato row, he would not see her.
"Pa," she said, not very loud. "Pa," growing bolder. "Do come—there's a daffodil out, the very, very first."
"Oh," a sound like a growl—"oh," from the depth of a vast chest heaving out a doubtful note.
"It is such a beautiful colour!"
"Where is your mother?" looking at her askance and still stooping.
"Indoors—at least—I think—no——"
"Haven't you got no sewing? Can't you help her? What good be you on?"
"But this is such a lovely daffodil, and the very first—now do come!"
"Flowers bean't no use on; such trumpery as that; what do'ee want a-messing about arter thaay? You'll never be no good on; you ain't never got a apron on."
"But—just a minute now."
"Go on in, and be some use on."
Amaryllis' lip fell; she turned and walked slowly away along the path, her head drooping forward.
Did ever anyone have a beautiful idea or feeling without being repulsed?
She had not reached the end of the path, however, when the father began to change his attitude; he stood up, dropped his "dibbler," scraped his foot on his spade, and, grumbling to himself, went after her. She did not see or hear him till he overtook her.
"Please, I'll go and do the sewing," she said.
"Where be this yer flower?" gruffly.
"I'll show you," taking his ragged arm, and brightening up immediately. "Only think, to open in all this wind, and so cold—isn't it beautiful? It's much more beautiful than the flowers that come in the summer."
"Trumpery rubbish—mean to dig 'em all up—would if I had time," muttered the father. "Have 'em carted out and drowed away—do for ashes to drow on the fields. Never no good on to nobody, thaay thengs. You can't eat 'em, can you, like you can potatoes?"
"But it's lovely. Here it is," and Amaryllis stepped on the patch tenderly, and lifted up the drooping face of the flower.
"Ah, yes," said Iden, putting his left hand to his chin, a habit of his when thinking, and suddenly quite altering his pronunciation from that of the country folk and labourers amongst whom he dwelt to the correct accent of education. "Ah, yes; the daffodil was your great-uncle's favourite flower."
"Richard?" asked Amaryllis.
"Richard," repeated Iden. And Amaryllis, noting how handsome her father's intellectual face looked, wandered in her mind from the flower as he talked, and marvelled how he could be so rough sometimes, and why he talked like the labourers, and wore a ragged coat—he who was so full of wisdom in his other moods, and spoke, and thought, and indeed acted as a perfect gentleman.
"Richard's favourite flower," he went on. "He brought the daffodils down from Luckett's; every one in the garden came from there. He was always reading poetry, and writing, and sketching, and yet he was such a capital man of business; no one could understand that. He built the mill, and saved heaps of money; he bought back the old place at Luckett's, which belonged to us before Queen Elizabeth's days; indeed, he very nearly made up the fortunes Nicholas and the rest of them got rid of. He was, indeed, a man. And now it is all going again—faster than he made it. He used to take you on his knee and say you would walk well, because you had a good ankle."
Amaryllis blushed and smoothed her dress with her hands, as if that would lengthen the skirt and hide the ankles which Richard, the great-uncle, had admired when she was a child, being a man, but which her feminine acquaintances told her were heavy.
"Here, put on your hat and scarf; how foolish of you to go out in this wind without them!" said Mrs. Iden, coming out. She thrust them into Amaryllis' unwilling hands, and retired indoors again immediately.
"He was the only one of all the family," continued her father, "who could make money; all the rest could do nothing but spend it. For ten generations he was the only money-maker and saver, and yet he was as free and liberal as possible. Very curious, wasn't it?—only one in ten generations—difficult to understand why none of the others—why——" He paused, thinking.
Amaryllis, too, was silent, thinking—thinking how easily her papa could make money, great heaps of money. She was sure he could if he tried, instead of planting potatoes.
"If only another Richard would rise up like him!" said Iden.
This was a very unreasonable wish, for, having had one genius in the family, and that, too, in the memory of man, they could not expect another. Even vast empires rarely produce more than one great man in all the course of their history. There was but one Cæsar in the thousand years of Rome; Greece never had one as a nation, unless we except Themistocles, or unless we accept Alexander, who was a Macedonian; Persia had a Cyrus; there was a Tamerlane somewhere, but few people know anything of the empire he overshadows with his name; France has had two mighty warriors, Charlemagne and Napoleon—unfortunate France! As for ourselves, fortunate islanders! we have never had a great man so immensely great as to overtop the whole, like Charlemagne in his day. Fortunate for us, indeed, that it has been so. But the best example to the point is the case of the immense empire of Russia, which has had one Peter the Great, and one only. Great-uncle Richard was the Peter the Great of his family, whose work had been slowly undone by his successors.
"I wonder whether any of us will ever turn out like Richard," continued Iden. "No one could deny him long; he had a way of persuading and convincing people, and always got his own will in the end. Wonderful man!" he pondered, returning towards his work.
Suddenly the side door opened, and Mrs. Iden just peered out, and cried, "Put your hat and scarf on directly."
Amaryllis put the hat on, and wound the scarf very loosely about her neck. She accompanied her father to the potato patch, hoping that he would go on talking, but he was quickly absorbed in the potatoes. She watched him stooping till his back was an arch; in fact, he had stooped so much that now he could not stand upright, though still in the prime of life; if he stood up and stretched himself, still his back was bowed at the shoulders. He worked so hard—ever since she could remember she had seen him working like this; he was up in the morning while it was yet dark tending the cattle; sometimes he was up all night with them, wind or weather made no difference. Other people stopped indoors if it rained much, but it made no difference to her father, nor did the deep snow or the sharp frosts. Always at work, and he could talk so cleverly, too, and knew everything, and yet they were so short of money. How could this be?
What a fallacy it is that hard work is the making of money; I could show you plenty of men who have worked the whole of their lives as hard as ever could possibly be, and who are still as far off independence as when they began. In fact, that is the rule; the winning of independence is rarely the result of work, else nine out of ten would be well-to-do.
"What has he been talking to you about?" she said, angrily. "Don't listen to him. He will never do any good. Just look at his coat; it's a disgrace, a positive disgrace. Telling you about the old people? What's the use of talking of people who have been dead all this time? Why doesn't he do something himself? Don't listen to his rubbish—wasting his time there with potatoes, it is enough to make one wild! Why doesn't he go in to market and buy and sell cattle, and turn over money in that way? Not he! he'd rather muddle with a few paltry potatoes, as if it mattered an atom how they were stuck in the ground."
Not liking to hear her father abused, Amaryllis went upstairs, and when she was alone lifted her skirt and looked at the ankles which great-uncle Richard had admired. Other girls had told her they were thick, and she was ashamed of them.
Instead of the slender things which seem as if a sudden strain would snap them, and are nothing but mere bone, she had a pair of well-shaped ankles, justly proportioned to what would soon be a fine form; strong, but neither thick, nor coarse, nor heavy, ankles that would carry her many a mile without weariness, that ended good legs with plenty of flesh on them. The stupidity of calling such coarse or heavy! They were really ideal ankles, such as a sculptor would carve. Yet these ill-instructed girls called them coarse! It was not their fault, it was the lack of instruction; as they did not know what was physically perfect, of course they could not recognize it.
Let every girl who has such ankles be proud of them, for they will prove a blessing to her for the whole of her life.
Amaryllis could not get her hair smooth, though she brushed it for some time; it would not lie close, so much had the east wind dried it. She opened a drawer, and took out a little bottle of macassar, and held it in her hand, balancing probabilities. Would her father see it if she used it, or might he, perhaps, fail to notice? She dared not leave the bottle on the dressing-table, for if he had chanced to pass through the room he would certainly have thrown it out of window, so bitter was his antagonism to all oils and perfumes, scents, pomades, and other resources of the hairdresser, which he held defiled the hair and ruined it, to the deception of woman and the disgust of man. Not one drop of scent did Amaryllis dare to sprinkle on her handkerchief, not one drop of oil did she dare put on her beautiful hair unless surreptitiously, and then she could not go near him, for he was certain to detect it and scorch her with withering satire.
Yet, however satirized, feminine faith in perfumes and oils and so forth is like a perennial spring, and never fails.
Such splendid hair as Amaryllis possessed needed no dressing—nothing could possibly improve it, and the chances therefore were that whatever she used would injure—yet in her heart she yearned to rub it with oil.
But the more she considered the more probable it seemed that her father would detect her; she had better wait till he went out for the afternoon somewhere, an event that seldom occurred, for Iden was one of those who preferred working at home to rambling abroad. He was, indeed, too attached to his home work. So she returned the bottle to the drawer, and hid it under some stockings.
Immediately afterwards it was dinner-time. At all meals the rule was that there must be no talking, but at dinner the law was so strict that even to ask for anything, as a piece of bread, or to say so much as "Give me the salt, please," was a deadly sin. There must be absolute silence while the master ate. The least infringement was visited with a severe glance from his keen and brilliant blue eyes—there are no eyes so stern as blue eyes when angry—or else he uttered a deep sigh like a grunt, and sat rigidly upright for a moment. For he usually stooped, and to sit upright showed annoyance. No laws of the Medes and Persians were ever obeyed as was this law of silence in that house.
Anything that disturbed the absolute calm of the dinner hour was worse than sacrilege; anything that threatened to disturb it was watched intently by that repressive eye. No one must come in or go out of the room; if anyone knocked at the door (there are no bells in old country houses) there was a frown immediately, it necessitated someone answering it, and then Mrs. Iden or Amaryllis had to leave the table, to go out and open and shut the sitting-room door as they went, and again as they returned. Amaryllis dreaded a knock at the door, it was so awful to have to stir once they had sat down to dinner, and the servant was certain not to know what reply to give. Sometimes it happened—and this was very terrible—that the master himself had to go, some one wanted him about some hay or a horse and cart, and no one could tell what to do but the master. A dinner broken up in this way was a very serious matter indeed.
That day they had a leg of mutton—a special occasion—a joint to be looked on reverently. Mr. Iden had walked into the town to choose it himself some days previously, and brought it home on foot in a flag basket. The butcher would have sent it, and if not, there were men on the farm who could have fetched it, but it was much too important to be left to a second person. No one could do it right but Mr. Iden himself. There was a good deal of reason in this personal care of the meat, for it is a certain fact that unless you do look after such things yourself, and that persistently, too, you never get it first-rate. For this cause people in grand villas scarcely ever have anything worth eating on their tables. Their household expenses reach thousands yearly, and yet they rarely have anything eatable, and their dinner-tables can never show meat, vegetables, or fruit equal to Mr. Iden's. The meat was dark brown, as mutton should be, for if it is the least bit white it is sure to be poor; the grain was short, and ate like bread and butter, firm, and yet almost crumbling to the touch; it was full of juicy red gravy, and cut pleasantly, the knife went through it nicely; you can tell good meat directly you touch it with the knife. It was cooked to a turn, and had been done at a wood fire on a hearth; no oven taste, no taint of coal gas or carbon; the pure flame of wood had browned it. Such emanations as there may be from burning logs are odorous of the woodland, of the sunshine, of the fields and fresh air; the wood simply gives out as it burns the sweetness it has imbibed through its leaves from the atmosphere which floats above grass and flowers. Essences of this order, if they do penetrate the fibres of the meat, add to its flavour a delicate aroma. Grass-fed meat, cooked at a wood fire, for me.
Wonderful it is that wealthy people can endure to have their meat cooked over coal or in a shut-up iron box, where it kills itself with its own steam, which ought to escape. But then wealthy villa people do do odd things. Les Misérables who have to write like myself must put up with anything and be thankful for permission to exist; but people with mighty incomes from tea, or crockery-ware, or mud, or bricks and mortar—why on earth these happy and favoured mortals do not live like the gods passes understanding.
Parisian people use charcoal: perhaps Paris will convert some of you who will not listen to a farmer.
Mr. Iden had himself grown the potatoes that were placed before him. They were white, floury, without a drop of water in the whole dish of them. They were equal to the finest bread—far, far superior to the bread with which the immense city of London permits itself to be poisoned. (It is not much better, for it destroys the digestion.) This, too, with wheat at thirty shillings the quarter, a price which is in itself one of the most wonderful things of the age. The finest bread ought to be cheap.
"They be forty-folds," said Mr. Iden, helping himself to half a dozen. "Look at the gravy go up into um like tea up a knob of sugar."
The gravy was drawn up among the dry, floury particles of the potatoes as if they had formed capillary tubes.
"Forty-folds," he repeated; "they comes forty to one. It be an amazing theng how thengs do that; forty grows for one. Thaay be an old-fashioned potato; you won't find many of thaay, not true forty-folds. Mine comes true, 'cause I saves um every year a' purpose. Better take more than that (to Amaryllis)—you haven't got but two" (to Mrs. Iden).