Richard Jefferies

Richard Jefferies

Summary

Portrait of Richard Jefferies Richard Jefferies Amaryllis at the Fair

Iden could plant potatoes, and cut trusses of hay, and go through his work to appearance unmoved.
Amaryllis could not draw—she could not do it; her imagination refused to see the idea; the more she concentrated her mind, the louder she heard the ceaseless grinding and gnashing of teeth.
Potatoes can be planted and nails can be hammered, bill-hooks can be wielded and faggots chopped, no matter what the inward care. The ploughman is deeply in debt, poor fellow, but he can, and does, follow the plough, and finds, perhaps, some solace in the dull monotony of his labour.
Source: Gutenberg

Portrait of Richard Jefferies Richard Jefferies Amaryllis at the Fair

Amaryllis did not for a moment anticipate success as an artist, nor think to take the world by storm with her talent. Her one only hope was to get a few pounds now and then—she would have sold twenty sketches for ten shillings—to save her father from insult, and to give her mother the mere necessities of dress she needed.
No thought of possible triumph, nor was she sustained by an overmastering love of art; she was inspired by her heart, not her genius.
Had circumstances been different she would not have earnestly practised drawing; naturally she was a passive rather than an active artist.
Source: Gutenberg

Portrait of Richard Jefferies Richard Jefferies Amaryllis at the Fair

The gossiping hurt Amaryllis even more than the work in the cold rain; it seemed so incongruous, so out of character, so unlike the real Iden as she knew him.
That he, with his great, broad and noble forehead, and his profile like Shakespeare, should stand there talk, talk, talking on the smallest hamlet topics with old women, and labourers, and thickheaded farmers, was to her a bewilderment and annoyance.
Source: Gutenberg

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