a few miles south of that great presiding pollard beech is the boundary line between surrey and kent on the north and sussex on the south. a few miles over the line the moorland organ roll of heather and birch and pine succeeds the grassy undulations and the well-grown beech and oak. the yellow roving lines of the paths cut through the heather into the sand add to the wildness of the waste, by their suggestion of mountain torrents and of channels worn in the soft rock or clay by the sea. the same likeness in little is often to be seen upon a high-pitched roof of thatch when the straw is earth-coloured and tunnelled by birds and seamed by rain. here the houses are of stone, unadorned, heather-thatched. the maker of birch-heath brooms plies his trade. there are stacks of heath and gorse in the yard. all the more fair are the grooves in the moorland, below the region of pines, where the tiled white-boarded mill stands by the sheen of a ford, and the gorse is bright and white clothes are blowing over neat gardens and the first rose. on a day of rain and gloom the answer of the gorse to sudden lights and heats is delicious; all those dull grey and glaucous and brown dry spines bursting into cool and fragrant fire is as great a miracle as the turning of flames to roses round a martyr’s feet.
it is only too easy for the pheasant lords to plant larch in parallelograms: to escape from them it is necessary to[69] go in amongst them. yet there are parts of the forest large and dark and primeval in look, with a few poor isolated houses and a thin file of telegraph posts crossing it among the high gloomy pines and down to the marshy hollows, to the strewn gold of dwarf willows, and up again to the deserted wooden windmill, the empty boarded cottage, the heather-thatched sheds at the southern edge of the moor. looking at this tract of wild land the mind seems to shed many centuries of civilization and to taste something of the early man’s alarm in the presence of the uncultured hills—an alarm which is in us tempered so as to aid an impression of the sublime. its influence lingers in the small strips of roadside gorse beyond its proper boundary. then, southward, there are softly dipping meadows, fields of young corn, and oaks thrown among the cowslips. the small farmhouses are neat and good—one has a long stone wall in front, and, over the road, tall scotch firs above a green pond dappled by the water crowfoot’s white blossoms and bordered by sallow and rush. narrow copses of oak or wide hedges of hazel and sallow line the road; and they are making cask hoops under lodges of boughs at the woodsides. bluebells and primroses and cuckoo flowers are not to be counted under the trees. the long moist meadows flow among the woods up and down from farm to farm and spire to tower. each farmhouse group is new—this one is roofed and walled with tiles; and opposite is a tangle of grass and gorse, with fowls and hen-coops amongst it, a sallowy pond, a pile of faggots, some crooked knees of oak, some fresh-peeled timber: old grey hop poles lean in a sheaf all round a great oak. the gates are of good[70] unpainted oak, and some few are of a kind not often seen elsewhere, lower than a hurdle and composed of two stout parallel bars united by twenty uprights and by two pieces meeting to form a v across these. the gates deserve and would fill a book by themselves.
green lucent calipers of flags shadow one another in little wayside ponds, white-railed; for this is the weald, the land of small clay ponds. the hazels are the nightingale’s. in many of the oak woods the timber carriages have carved a way through primroses and bluebells deep into the brown clay. the larger views are of cloudy, oak woods, ridge behind ridge, and green corn or grass and grey ploughland between; and of the sun pouring a molten cataract out of dark machicolated clouds on to one green field that glows a moment and is insignificant again: the lesser are of little brambly precipitous sandpits by the road, of a white mill at a crossing, of carved yews before black-timbered inns, of a starling that has learned the curlew’s call perched on a cottage roof, of abeles all rough silver with opening leaf shivering along the grass-bordered evening road, of two or three big oaks in a meadow corner and in their shadow unblemished parsley and grasses bowed as if rushing in the wind. at an inn door stands a young labourer, tall and straight but loosely made, his nose even and small, his eyes blue and deep set, his lips like those of antinous, his face ruddy and rough-grained, his hair short and brown and crisp upon his fair round head; his neck bound by a voluminous scarf (with alternate lozenges of crimson and deep green divided by white lines) that is gathered beneath his chin by a brass ring and thence flows down under his blue[71] coat; his trousers of grey cord, dirty and patched with drab to a weathered stone colour, fitting almost tightly to his large thighs and calves and reaching not too near to his small but heavily-shod feet. a prince—a slave. he is twenty, unmarried, sober, honest, a noble animal. he goes into a cottage that stands worn and old and without a right angle in its timbers or its thatch any more than in its apple trees and solitary quince which all but hide the lilac and massed honesty of the little garden. this is a house—i had almost said this is a man—that looked upon england when it could move men to such songs as, “come, live with me and be my love,” or—
“hey, down a down!” did dian sing,
amongst her virgins sitting;
“than love there is no vainer thing,
for maidens most unfitting.”
and so think i, with a down, down derry.
for a moment or less as he goes under the porch i seem to see that england, that swan’s nest, that island which a man’s heart was not too big to love utterly. but now what with great britain, the british empire, britons, britishers, and the english-speaking world, the choice offered to whomsoever would be patriotic is embarrassing, and he is fortunate who can find an ideal england of the past, the present, and the future to worship, and embody it in his native fields and waters or his garden, as in a graven image.
the round unending downs are close ahead, and upon the nearest hill a windmill beside a huge scoop in the chalk, a troop of elms below, and then low-hedged fields of grass and wheat. the farms are those of the down[72]land. one stands at the end of the elm troop that swerves and clusters about its tiled roof, grey cliff of chimney-stack, and many gables; the stables with newer tiles; the huge slope of the barn; the low mossy cart-lodge and its wheels and grounded shafts; the pale straw stacks and the dark hay ricks with leaning ladders. a hundred sheep-bells rush by with a music of the hills in the wind. the larks are singing as if they never could have done by nightfall. it is now the hour of sunset, and windy. all the sky is soft and dark-grey-clouded except where the sun, just visible and throbbing in its own light, looks through a bright window in the west with a glow. exactly under the sun the grass and wheat is full both of the pure effulgence and of the south-west wind, rippling and glittering: there is no sun for anything else save the water. north of the sun and out of its power lies a lush meadow, beyond it a flat marshland cut by several curves of bright water, above that a dark church on a wooded mound, and then three shadowy swoops of down ending at a spire among trees.
south-west, the jagged ridgy cluster of a hillside town, a mill and a castle, stand dark and lucid, and behind them the mere lines of still more distant downs.
