AMARYLLIS went outside the court, and waited; Amadis rose and followed
her. "Come a little way into the Brook-Field," she said.
They left the apple-bloom behind them, and going down the gravel-path
passed the plum trees--the daffodils there were over now--by the
strawberry patch which Iden had planted under the parlour window; by the
great box-hedge where a thrush sat on her nest undisturbed, though
Amaryllis's dress brushed the branches; by the espalier apple, to the
little orchard-gate.
The parlour-window--there are no parlours now, except in old country
houses; there were parlours in the days of Queen Anne; in the modern
villas they have drawing-rooms.
The parlour-window hung over with pear-tree branches, planted beneath
with strawberry; white blossom above, white flower beneath; birds' nests
in the branches of the pear--that was Iden.
They opened the little orchard-gate which pushed heavily against the
tall meadow-grass growing between the bars. The path was almost
gone--grown out with grass, and as they moved they left a broad trail
behind them.
Bill Nye the mower, had he seen, would have muttered to himself; they
were trespassing on his mowing-grass, trampling it, and making it more
difficult to cut.
Her dress swept over the bennets and shook the thick-stemmed
butter-cups--branched like the golden candlestick, and with flowers of
golden flame. For the burnished petals reflect the sun, and throw light
back into the air.
Amadis began to drag behind--he could not walk much farther; they sat
down together on the trunk of an oak that had been felled by a gateway
close to the horse-chestnut trees Iden had planted. Even with his back
leaning against a limb of the oak, Amadis had to partly support himself
with his hands.
What was the use of such a man?--He had nothing but his absurdly
romantic name from Don Quixote to recommend him.
That was the very thought that gnawed at poor Amadis's heart as he sat
by her side. What use to care for him?
Iden's flag-basket of tools lay by the gate, it was a new gate, and he
had been fitting it before he went in to lunch. His basket was of flag
because the substance of the flag is soft, and the tools, chisels, and
so on, laid pleasant in it; he must have everything right. The new gate
was of solid oak, no "sappy" stuff, real heart of oak, well-seasoned,
without a split, fine, close-grained timber, cut on the farm, and kept
till it was thoroughly fit, genuine English oak. If you would only
consider Iden's gate you might see there the man.
This gateway was only between two meadows, and the ordinary farmer, when
the old gate wore out, would have stopped it with a couple of rails, or
a hurdle or two, something very, very cheap and rough; at most a gate
knocked up by the village carpenter of ash and willow, at the lowest
possible charge.
Iden could not find a carpenter good enough to make _his_ gate in the
hamlet; he sent for one ten miles, and paid him full carpenter's wages.
He was not satisfied then, he watched the man at his work to see that
the least little detail was done correctly, till the fellow would have
left the job, had he not been made pliable by the Goliath ale. So he
just stretched the job out as long as he could, and talked and talked
with Iden, and stroked him the right way, and drank the ale, and "played
it upon me and on William, That day in a way I despise." Till what with
the planing, and shaving, and smoothing, and morticing, and ale, and
time, it footed up a pretty bill, enough for three commonplace gates,
not of the Iden style.
Why, Iden had put away those pieces of timber years before for this very
purpose, and had watched the sawyers saw them out at the pit. They would
have made good oak furniture. There was nothing special or particular
about this gateway; he had done the same in turn for every gateway on
the farm; it was the Iden way.
A splendid gate it was, when it was finished, fit for a nobleman's Home
Park. I doubt, if you would find such a gate, so well proportioned, and
made of such material on any great estate in the kingdom. For not even
dukes can get an Iden to look after their property. An Iden is not to be
"picked up," I can tell you.
The neighbourhood round about had always sneered in the broad country
way at Iden's gates. "Vit for m' Lard's park. What do _he_ want wi' such
geates? A' ain't a got no cattle to speak on; any ould rail ud do as
good as thuck geat."
The neighbourhood round about could never understand Iden, never could
see why he had gone to such great trouble to render the homestead
beautiful with trees, why he had re-planted the orchard with pleasant
eating apples in the place of the old cider apples, hard and sour. "Why
wouldn't thaay a' done for he as well as for we?"
All the acts of Iden seemed to the neighbourhood to be the acts of a
"vool."
When he cut a hedge, for instance, Iden used to have the great bushes
that bore unusually fine May bloom saved from the billhook, that they
might flower in the spring. So, too, with the crab-apples--for the sake
of the white blossom; so, too, with the hazel--for the nuts.
But what caused the most "wonderment" was the planting of the
horse-chestnuts in the corner of the meadow? Whatever did he want with
horse-chestnuts? No other horse-chestnuts grew about there. You couldn't
eat the horse-chestnuts when they dropped in autumn.
In truth Iden built for all time, and not for the little circumstance of
the hour. His gate was meant to last for years, rain and shine, to
endure any amount of usage, to be a work of Art in itself.
His gate as the tangible symbol of his mind--was at once his strength
and his folly. His strength, for it was such qualities as these that
made Old England famous, and set her on the firm base whereon she now
stands--built for all Time. His folly, because he made too much of
little things, instead of lifting his mind higher.
If only he could have lived three hundred years the greater world would
have begun to find out Iden and to idolize him, and make pilgrimages
from over sea to Coombe Oaks, to hear him talk, for Iden could talk of
the trees and grass, and all that the Earth bears, as if one had
conversed face to face with the great god Pan himself.
But while Iden slumbered with his head against the panel--think, think,
think--this shallow world of ours, this petty threescore years and ten,
was slipping away. Already Amaryllis had marked with bitterness at heart
the increasing stoop of the strong back.
Iden was like the great engineer who could never build a bridge, because
he knew so well how a bridge ought to be built.
"Such a fuss over a mess of a gate," said Mrs. Iden, "making yourself
ridiculous: I believe that carpenter is just taking advantage of you.
Why can't you go into town and see your father?--it would be a hundred
pounds in your pocket"--as it would have been, no doubt. If only Mrs.
Iden had gone about her lecture in a pleasanter manner perhaps he would
have taken her advice.
Resting upon the brown timber in the grass Amaryllis and Amadis could
just see a corner of the old house through the spars of the new gate.
Coombe Oaks was a grown house, if you understand; a house that had grown
in the course of many generations, not built to set order; it had grown
like a tree that adapts itself to circumstances, and, therefore, like
the tree it was beautiful to look at. There were windows in deep
notches, between gables where there was no look-out except at the pears
on the wall, awkward windows, quite bewildering. A workman came to mend
one one day, and could not get at it. "Darned if I ever seed such a
crooked picter of a house!" said he.
A kingfisher shot across above the golden surface of the buttercups,
straight for the brook, moving, as it seemed, without wings, so swiftly
did he vibrate them, that only his azure hue was visible, drawn like a
line of peacock blue over the gold.
In the fitness of things Amaryllis ought not to have been sitting there
like this, with Amadis lost in the sweet summer dream of love.
She ought to have loved and married a Launcelot du Lake, a hero of the
mighty arm, only with the income of Sir Gorgius Midas: that is the
proper thing.
But the fitness of things never comes to pass--everything happens in the
Turkish manner.
Here was Amaryllis, very strong and full of life, very, very young and
inexperienced, very poor and without the least expectation whatever (for
who could reconcile the old and the older Iden?), the daughter of poor
and embarrassed parents, whom she wished and prayed to help in their
coming old age. Here was Amaryllis, full of poetic feeling and half a
painter at heart, full of generous sentiments--what a nature to be
ground down in the sordidness of married poverty!
Here was Amadis, extremely poor, quite feeble, and unable to earn a
shilling, just talking of seeing the doctor again about this fearful
debility, full too, as he thought at least, of ideas--what a being to
think of her!
Nothing ever happens in the fitness of things. If only now he could have
regained the health and strength of six short months ago--if only that,
but you see, he had not even that. He might get better; true--he
_might_, I have tried 80 drugs and I am no better, I hope he will.
Could any blundering Sultan in the fatalistic East have put things
together for them with more utter contempt of fitness? It is all in the
Turkish manner, you see.
There they sat, happier and happier, and deeper and deeper in love every
moment, on the brown timber in the long grass, their hearts as full of
love as the meadow was of sunshine.
You have heard of the Sun's Golden Cup, in which after sunset he was
carried over Ocean's stream, while we slumber in the night, to land
again in the East and give us the joy of his rising. The great Golden
Cup in which Hercules, too, was taken over; it was as if that Cup had
been filled to the brim with the nectar of love and placed at the lips
to drink, inexhaustible.
In the play of Faust--Alere's _Faust_--Goethe has put an interlude, an
Intermezzo; I shall leave Amaryllis and Amadis in their Interlude in
Heaven. Let the Play of Human Life, with its sorrows and its Dread,
pause awhile; let Care go aside behind the wings, let Debt and Poverty
unrobe, let Age stand upright, let Time stop still (oh, Miracle! as the
Sun did in the Vale of Ajalon). Let us leave our lovers in the Interlude
in Heaven.
And as I must leave them (I trust but for a little while) I will leave
them on the brown oak timber, sap-stain brown, in the sunshine and
dancing shadow of summer, among the long grass and the wild flowers.
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Transcriber's Notes:
Obvious transcriber's notes repaired.
Page viii, "judgement" changed to "judgment" (that in his judgment)
Page 103, "break" changed to "brake" (if the pneumatic brake)
Page 181, "acccompanied" changed to "accompanied" (who ever accompanied)
Page 197, "undisdisturbed" changed to "undisturbed" (drink, drink
undisturbed)
Advertising pages:
Page 10, "Mariamne" changed to "Marianne" (Marianne. A Drama.)
End of Project Gutenberg's Amaryllis at the Fair, by Richard Jefferies