Field and Hedgerow - Richard Jefferies

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new—the only things that are so; the rest is old and grey, and a weariness.

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      What is the colour of the dandelion? There are many dandelions: that which I mean flowers in May, when the meadow-grass has started and the hares are busy by daylight. That which flowers very early in the year has a thickness of hue, and is not interesting; in autumn the dandelions quite change their colour and are pale. The right dandelion for this question is the one that comes about May with a very broad disc, and in such quantities as often to cover a whole meadow. I used to admire them very much in the fields by Surbiton (strong clay soil), and also on the towing-path of the Thames where the sward is very broad, opposite Long Ditton; indeed, I have often walked up that towing-path on a beautiful sunny morning, when all was quiet except the nightingales in the Palace hedge, on purpose to admire them. I dare say they are all gone now for evermore; still, it is a pleasure to look back on anything beautiful. What colour is this dandelion? It is not yellow, nor orange, nor gold; put a sovereign on it and see the difference. They say the gipsies call it the Queen's great hairy dog-flower—a number of words to one stalk; and so, to get a colour to it, you may call it the yellow-gold-orange plant. In the winter, on the black mud under a dark, dripping tree, I found a piece of orange peel, lately dropped—a bright red orange speck in the middle of the blackness. It looked very beautiful, and instantly recalled to my mind the great dandelion discs in the sunshine of summer. Yet certainly they are not red-orange. Perhaps, if ten people answered this question, they would each give different answers. Again, a bright day or a cloudy, the presence of a slight haze, or the juxtaposition of other colours, alters it very much; for the dandelion is not a glazed colour, like the buttercup, but sensitive. It is like a sponge, and adds to its own hue that which is passing, sucking it up.

      The shadows of the trees in the wood, why are they blue? Ought they not to be dark? Is it really blue, or an illusion? And what is their colour when you see the shadow of a tall trunk aslant in the air like a leaning pillar? The fallen brown leaves wet with dew have a different brown from those that are dry, and the upper surface of the green growing leaf is different from the under surface. The yellow butterfly, if you meet one in October, has so toned down his spring yellow that you might fancy him a pale green leaf floating along the road. There is a shining, quivering, gleaming; there is a changing, fluttering, shifting; there is a mixing, weaving—varnished wings, translucent wings, wings with dots and veins, all playing over the purple heath; a very tangle of many-toned lights and hues. Then come the apples: if you look upon them from an upper window, so as to glance along the level plane of the fruit, delicate streaks of scarlet, like those that lie parallel to the eastern horizon before sunrise; golden tints under bronze, and apple-green, and some that the wasps have hollowed, more glowingly beautiful than the rest; sober leaves and black and white swallows: to see it you must be high up, as if the apples were strewn on a sward of foliage. So have I gone in three steps from May dandelion to September apple; an immense space measured by things beautiful, so filled that ten folio volumes could not hold the description of them, and I have left out the meadows, the brooks, and hills. Often in writing about these things I have felt very earnestly my own incompetence to give the least idea of their brilliancy and many-sided colours. My gamut was so very limited in its terms, and would not give a note to one in a thousand of those I saw. At last I said, I will have more words; I will have more terms; I will have a book on colour, and I will find and use the right technical name for each one of these lovely tints. I was told that the very best book was by Chevreul, which had tinted illustrations, chromatic scales, and all that could be desired.

      Quite true, all of it; but for me it contained nothing. There was a good deal about assorted wools, but nothing about leaves; nothing by which I could tell you the difference between the light scarlet of one poppy and the deep purple-scarlet of another species. The dandelion remained unexplained; as for the innumerable other flowers, and wings, and sky-colours, they were not even approached. The book, in short, dealt with the artificial and not with nature. Next I went to science—works on optics, such a mass of them. Some I had read in old time, and turned to again; some I read for the first time, some translated from the German, and so on. It appeared that, experimenting with physical colour, tangible paint, they had found out that red, yellow, and blue were the three primary colours; and then, experimenting with light itself, with colours not tangible, they found out that red, green, and violet were the three primary colours; but neither of these would do for the dandelion. Once upon a time I had taken an interest in spectrum analysis, and the theory of the polarisation of light was fairly familiar; any number of books, but not what I wanted to know. Next the idea occurred to me of buying all the colours used in painting, and tinting as many pieces of paper a separate hue, and so comparing these with petals, and wings, and grass, and trifolium. This did not answer at all; my unskilful hands made a very poor wash, and the yellow paper set by a yellow petal did not agree, the scientific reason of which I cannot enter into now. Secondly, the names attached to many of these paints are unfamiliar to general readers; it is doubtful if bistre, Leitch's blue, oxide of chromium, and so on, would convey an idea. They might as well be Greek symbols: no use to attempt to describe hues of heath or hill in that way. These, too, are only distinct colours. What was to be done with all the shades and tones? Still there remained the language of the studio; without doubt a master of painting could be found who would quickly supply the technical term of anything I liked to show him; but again no use, because it would be technical. And a still more insurmountable difficulty occurs: in so far as I have looked at pictures, it seems as if the artists had met with the same obstacle in paints as I have in words—that is to say, a deficiency. Either painting is incompetent to express the extreme beauty of nature, or in some way the canons of art forbid the attempt. Therefore I had to turn back, throw down my books with a bang, and get me to a bit of fallen timber in the open air to meditate.

      Would it be possible to build up a fresh system of colour language by means of natural objects? Could we say pine-wood green, larch green, spruce green, wasp yellow, humble-bee amber? And there are fungi that have marked tints, but the Latin names of these agarics are not pleasant. Butterfly blue—but there are several varieties; and this plan is interfered with by two things: first, that almost every single item of nature, however minute, has got a distinctly different colour, so that the dictionary of tints would be immense; and next, so very few would know the object itself that the colour attached to it would have no meaning. The power of language has been gradually enlarging for a great length of time, and I venture to say that the English language at the present time can express more, and is more subtle, flexible, and, at the same time, vigorous, than any of which we possess a record. When people talk to me about studying Sanscrit, or Greek, or Latin, or German, or, still more absurd, French, I feel as if I could fell them with a mallet happily. Study the English, and you will find everything there, I reply. With such a language I fully anticipate, in years to come, a great development in the power of expressing thoughts and feelings which are now thoughts and feelings only. How many have said of the sea, ' It makes me feel something I cannot say'! Hence it is clear there exists in the intellect a layer, if I may so call it, of thought yet dumb—chambers within the mind which require the key of new words to unlock. Whenever that is done a fresh impetus is given to human progress. There are a million books, and yet with all their aid I cannot tell you the colour of the May dandelion. There are three greens at this moment in my mind: that of the leaf of the flower-de-luce, that of the yellow iris leaf, and that of the bayonet-like leaf of the common flag. With admission to a million books, how am I to tell you the difference between these tints? So many, many books, and such a very, very little bit of nature in them! Though we have been so many thousand years upon the earth we do not seem to have done any more as yet than walk along beaten footpaths, and sometimes really it would seem as if there were something in the minds of many men quite artificial, quite distinct from the sun and trees and hills—altogether house people, whose gods must be set in four-cornered buildings. There is nothing in books that touches my dandelion.

      It grows, ah yes, it grows! How does it grow? Builds itself up somehow of sugar and starch, and turns mud into bright colour and dead earth into food for bees, and some day perhaps for you, and knows when to shut its petals, and how to construct the brown seeds

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