Photo by Simon Coleman
Throughout his life, Richard Jefferies found a simple, natural sense of joy from seeing the re-birth of the flowers in spring and the drift of the constellations along their familiar paths. From the touch of sunbeams and inhaling the fresh breezes of the downs, he was uplifted in spirit and inspired to think and imagine. From listening to birdsong in the long, light evenings he realised, as much earlier peoples did, that all life was charged with magical and sacred powers. Whatever he found beautiful in nature or the landscape became a source of joy and something to be regarded as sacred. The true poets have always understood that what is sacred should be praised and Jefferies, though a prose writer, belongs in this tradition.
‘There was a secluded spring to which I sometimes went to drink the pure water, lifting it in the hollow of my hand. Drinking the lucid water, clear as light itself in solution, I absorbed the beauty and purity of it. I drank the thought of the element; I desired soul-nature pure and limpid. When I saw the sparkling dew on the grass—a rainbow broken into drops—it called up the same thought-prayer. The stormy wind whose sudden twists laid the trees on the ground woke the same feeling; my heart shouted with it. The soft summer air which entered when I opened my window in the morning breathed the same sweet desire. At night, before sleeping, I always looked out at the shadowy trees, the hills looming indistinctly in the dark, a star seen between the drifting clouds; prayer of soul-life always. I chose the highest room, bare and gaunt, because as I sat at work I could look out and see more of the wide earth, more of the dome of the sky, and could think my desire through these. When the crescent of the new moon shone, all the old thoughts were renewed.’ (‘The Story of My Heart’)
‘..there was magic in everything’, he wrote in his children’s novel, ‘Bevis’. In the natural world, at every time of the year, there were wonderful things to find and praise. Continuing from the above passage,
‘All the succeeding incidents of the year repeated my prayer as I noted them. The first green leaf on the hawthorn, the first spike of meadow grass, the first song of the nightingale, the green ear of wheat. I spoke it with the ear of wheat as the sun tinted it golden; with the whitening barley; again with the red gold spots of autumn on the beech, the buff oak leaves, and the gossamer dew-weighted. All the larks over the green corn sang it for me, all the dear swallows; the green leaves rustled it; the green brook flags waved it; the swallows took it with them to repeat it for me in distant lands. By the running brook I meditated it; a flash of sunlight here in the curve, a flicker yonder on the ripples, the birds bathing in the sandy shallow, the rush of falling water. As the brook ran winding through the meadow, so one thought ran winding through my days.’
The ‘prayer’ that Jefferies mentions is really his desire to live the life that these beautiful ‘incidents of the year’ suggest in his imagination. He is not praying to anything; rather he seems to be assimilating the powers of nature to help him realise his own life power.
In one of his great essays, ‘The Pageant of Summer’, this prose-poetry achieved a new emotional depth, beautifully sustained as he moves among the splendours of the summer fields and hills.
‘To the dreamy summer haze love gave a deep enchantment, the colours were fairer, the blue more lovely in the lucid sky. Each leaf finer, and the gross earth enamelled beneath the feet. A sweet breath on the air, a soft warm hand in the touch of the sunshine, a glance in the gleam of the rippled waters, a whisper in the dance of the shadows. The ethereal haze lifted the heavy oaks and they were buoyant on the mead, the rugged bark was chastened and no longer rough, each slender flower beneath them again refined. There was a presence everywhere though unseen, on the open hills, and not shut out under the dark pines. Dear were the June roses then because for another gathered. Yet even dearer now with so many years as it were upon the petals; all the days that have been before, all the heart-throbs, all our hopes lie in this opened bud… Never could I have enough; never stay long enough – whether here or whether lying on the shorter sward under the sweeping and graceful birches, or on the thyme-scented hills. Hour after hour, and still not enough. Or walking the footpath was never long enough, or my strength sufficient to endure till the mind was weary. The exceeding beauty of the earth, in her splendour of life, yields a new thought with every petal. The hours when the mind is absorbed by beauty are the only hours when we really live, so that the longer we can stay among these things so much the more is snatched from inevitable Time.’
In our time, words such as ‘joy’ and ‘beauty’ seem to have become devalued as a result of the severing of the human senses and heart from the eternal cycles of nature. The experiences that Jefferies had are obviously more difficult to replicate in our restless, digital age where ‘screen time’ has pushed any sense of the eternal to the very margins of human life. We may not be able to lie in the ‘thyme-scented hills’ with the rest and quiet that Jefferies found, but his words still communicate a profound love of life that inspires us to praise even the most common blade of grass.