Beauty In The Country

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Title:     Beauty In The Country
Author: Richard Jefferies [More Titles by Jefferies]

I--THE MAKING OF BEAUTY

It takes a hundred and fifty years to make a beauty--a hundred and fifty years out-of-doors. Open air, hard manual labour or continuous exercise, good food, good clothing, some degree of comfort, all of these, but most especially open air, must play their part for five generations before a beautiful woman can appear. These conditions can only be found in the country, and consequently all beautiful women come from the country. Though the accident of birth may cause their register to be signed in town, they are always of country extraction.

Let us glance back a hundred and fifty years, say to 1735, and suppose a yeoman to have a son about that time. That son would be bred upon the hardest fare, but, though hard, it would be plentiful and of honest sort. The bread would be home-baked, the beef salted at home, the ale home-brewed. He would work all day in the fields with the labourers, but he would have three great advantages over them--in good and plentiful food, in good clothing, and in home comforts. He would ride, and join all the athletic sports of the time. Mere manual labour stiffens the limbs, gymnastic exercises render them supple. Thus he would obtain immense strength from simple hard work, and agility from exercise. Here, then, is a sound constitution, a powerful frame, well knit, hardened--an almost perfect physical existence.

He would marry, if fortunate, at thirty or thirty-five, naturally choosing the most charming of his acquaintances. She would be equally healthy and proportionally as strong, for the ladies of those days were accustomed to work from childhood. By custom soon after marriage she would work harder than before, notwithstanding her husband's fair store of guineas in the iron-bound box. The house, the dairy, the cheese-loft, would keep her arms in training. Even since I recollect, the work done by ladies in country houses was something astonishing, ladies by right of well-to-do parents, by right of education and manners. Really, it seems that there is no work a woman cannot do with the best results for herself, always provided that it does not throw a strain upon the loins. Healthy children sprung from such parents, while continuing the general type, usually tend towards a refinement of the features. Under such natural and healthy conditions, if the mother have a good shape, the daughter is finer; if the father be of good height, the son is taller. These children in their turn go through the same open-air training. In course of years, the family guineas increasing, home comforts increase, and manners are polished. Another generation sees the cast of countenance smoothed of its original ruggedness, while preserving its good proportion. The hard chin becomes rounded and not too prominent, the cheek-bones sink, the ears are smaller, a softness spreads itself over the whole face. That which was only honest now grows tender. Again another generation, and it is a settled axiom that the family are handsome. The country-side, as it gossips, agrees that the family are marked out as good-looking. Like seeks like, as we know; the handsome intermarry with the handsome. Still, the beauty has not arrived yet, nor is it possible to tell whether she will appear from the female or male branches. But in the fifth generation appear she does, with the original features so moulded and softened by time, so worked and refined and sweetened, so delicate and yet so rich in blood, that she seems like a new creation that has suddenly started into being. No one has watched and recorded the slow process which has thus finally resulted. No one could do so, because it has spread over a century and a half. If any one will consider, they will agree that the sentiment at the sight of a perfect beauty is as much amazement as admiration. It is so astounding, so outside ordinary experience, that it wears the aspect of magic.

A stationary home preserves the family intact, so that the influences already described have time to produce their effect. There is nothing uncommon in a yeoman's family continuing a hundred and fifty years in the same homestead. Instances are known of such occupation extending for over two hundred years; cases of three hundred years may be found: now and then one is known to exceed that, and there is said to be one that has not moved for six hundred. Granting the stock in its origin to have been fairly well proportioned, and to have been subject for such a lapse of time to favourable conditions, the rise of beauty becomes intelligible.

Cities labour under every disadvantage. First, families have no stationary home, but constantly move, so that it is rare to find one occupying a house fifty years, and will probably become much rarer in the future. Secondly, the absence of fresh air, and that volatile essence, as it were, of woods, and fields, and hills, which can be felt but not fixed. Thirdly, the sedentary employment. Let a family be never so robust, these must ultimately affect the constitution. If beauty appears it is too often of the unhealthy order; there is no physique, no vigour, no richness of blood. Beauty of the highest order is inseparable from health; it is the outcome of health--centuries of health--and a really beautiful woman is, in proportion, stronger than a man. It is astonishing with what persistence a type of beauty once established in the country will struggle to perpetuate itself against all the drawbacks of town life after the family has removed thither.

When such results are produced under favourable conditions at the yeoman's homestead, no difficulty arises in explaining why loveliness so frequently appears in the houses of landed proprietors. Entailed estates fix the family in one spot, and tend, by inter-marriage, to deepen any original physical excellence. Constant out-of-door exercise, riding, hunting, shooting, takes the place of manual labour. All the refinements that money can purchase, travel, education, are here at work. That the culture of the mind can alter the expression of the individual is certain; if continued for many generations, possibly it may leave its mark upon the actual bodily frame. Selection exerts a most powerful influence in these cases. The rich and titled have so wide a range to choose from. Consider these things working through centuries, perhaps in a more or less direct manner, since the Norman Conquest. The fame of some such families for handsome features and well-proportioned frames is widely spread, so much so that a descendant not handsome is hardly regarded by the outside world as legitimate. But even with all these advantages beauty in the fullest sense does not appear regularly. Few indeed are those families that can boast of more than one. It is the best of all boasts; it is almost as if the Immortals had especially favoured their house. Beauty has no period; it comes at intervals, unexpected! it cannot be fixed. No wonder the earth is at its feet.

The fisherman's daughter ere now has reached very high in the scale of beauty. Hardihood is the fisherman's talent by which he wins his living from the sea. Tribal in his ways, his settlements are almost exclusive, and his descent pure. The wind washed by the sea enriches his blood, and of labour he has enough. Here are the same constant factors; the stationary home keeping the family intact, the out-door life, the air, the sea, the sun. Refinement is absent, but these alone are so powerful that now and then beauty appears. The lovely Irish girls, again: their forefathers have dwelt on the mountainside since the days of Fingal, and all the hardships of their lot cannot destroy the natural tendency to shape and enchanting feature. Without those constant factors beauty cannot be, but yet they will not alone produce it. There must be something in the blood which these influences gradually ripen. If it is not there centuries are in vain; but if it is there then it needs these conditions. Erratic, meteor-like beauty! for how many thousand years has man been your slave! Let me repeat, the sentiment at the sight of a perfect beauty is as much amazement as admiration. It so draws the heart out of itself as to seem like magic.

She walks, and the very earth smiles beneath her feet. Something comes with her that is more than mortal; witness the yearning welcome that stretches towards her from all. As the sunshine lights up the aspect of things, so her presence sweetens the very flowers like dew. But the yearning welcome is, I think, the most remarkable of the evidence that may be accumulated about it. So deep, so earnest, so forgetful of the rest the passion of beauty is almost sad in its intense abstraction. It is a passion, this yearning. She walks in the glory of young life; she is really centuries old.

A hundred and fifty years at the least--more probably twice that--have passed away, while from all enchanted things of earth and air this preciousness has been drawn. From the south wind that breathed a century and a half ago over the green wheat. From the perfume of the growing grasses waving over honey-laden clover and laughing veronica, hiding the greenfinches, baffling the bee. From rose-loved hedges, woodbine, and cornflower azure-blue, where yellowing wheat-stalks crowd up under the shadow of green firs. All the devious brooklet's sweetness where the iris stays the sunlight; all the wild woods hold the beauty; all the broad hill's thyme and freedom: thrice a hundred years repeated. A hundred years of cowslips, blue-bells, violets; purple spring and golden autumn; sunshine, shower, and dewy mornings; the night immortal; all the rhythm of Time unrolling. A chronicle unwritten and past all power of writing: who shall preserve a record of the petals that fell from the roses a century ago? The swallows to the housetops three hundred times--think a moment of that. Thence she sprang, and the world yearns towards her beauty as to flowers that are past. The loveliness of seventeen is centuries old. Is this why passion is almost sad?

 

II--THE FORCE OF FORM

Her shoulders were broad, but not too broad--just enough to accentuate the waist, and to give a pleasant sense of ease and power. She was strong, upright, self-reliant, finished in herself. Her bust was full, but not too prominent--more after nature than the dressmaker. There was something, though, of the corset-maker in her waist, it appeared naturally fine, and had been assisted to be finer. But it was in the hips that the woman was perfect:--fulness without coarseness; large but not big: in a word, nobly proportioned. Now imagine a black dress adhering to this form. From the shoulders to the ankles it fitted "like a glove." There was not a wrinkle, a fold, a crease, smooth as if cast in a mould, and yet so managed that she moved without effort. Every undulation of her figure, as she stepped lightly forward flowed to the surface. The slight sway of the hip as the foot was lifted, the upward and _inward_ movement of the limb as the knee was raised, the straightening as the instep felt her weight, each change as the limb described the curves of walking was repeated in her dress. At every change of position she was as gracefully draped as before. All was revealed, yet all concealed. As she passed there was the sense of a presence--the presence of perfect form. She was lifted as she moved above the ground by the curves of beauty as rapid revolution in a curve suspends the down-dragging of gravity. A force went by--the force of animated perfect form.

Merely as an animal, how grand and beautiful is a perfect woman! Simply as a living, breathing creature, can anything imaginable come near her?

There is such strength in shape--such force in form. Without muscular development shape conveys the impression of the greatest of all strength--that is, of completeness in itself. The ancient philosophy regarded a globe as the most perfect of all bodies, because it was the same--that is, it was perfect and complete in itself--from whatever point it was contemplated. Such is woman's form when nature's intent is fulfilled in beauty, and that beauty gives the idea of self-contained power.

A full-grown woman is, too, physically stronger than a man. Her physique excels man's. Look at her torso, at the size, the fulness, the rounded firmness, the depth of the chest. There is a nobleness about it. Shoulders, arms, limbs, all reach a breadth of make seldom seen in man. There is more than merely sufficient--there is a luxuriance indicating a surpassing vigour. And this occurs without effort. She needs no long manual labour, no exhaustive gymnastic exercise, nor any special care in food or training. It is difficult not to envy the superb physique and beautiful carriage of some women. They are so strong without effort.

 

III--AN ARM

A large white arm, bare, in the sunshine, to the shoulder, carelessly leant against a low red wall, lingers in my memory. There was a house roofed with old grey stone slates in the background, and peaches trained up by the window. The low garden wall of red brick--ancient red brick, not the pale, dusty blocks of these days--was streaked with dry mosses hiding the mortar. Clear and brilliant, the gaudy sun of morning shone down upon her as she stood in the gateway, resting her arm on the red wall, and pressing on the mosses which the heat had dried. Her face I do not remember, only the arm. She had come out from dairy work, which needs bare arms, and stood facing the bold sun. It was very large--some might have called it immense--and yet natural and justly proportioned to the woman, her work, and her physique. So immense an arm was like a revelation of the vast physical proportions which our race is capable of attaining under favourable conditions. Perfectly white--white as the milk in which it was often plunged--smooth and pleasant in the texture of the skin, it was entirely removed from coarseness. The might of its size was chiefly by the shoulder; the wrist was not large, nor the hand. Colossal, white, sunlit, bare--among the trees and the meads around it was a living embodiment of the limbs we attribute to the first dwellers on earth.

 

IV--LIPS

The mouth is the centre of woman's beauty. To the lips the glance is attracted the moment she approaches, and their shape remains in the memory longest. Curve, colour, and substance are the three essentials of the lips, but these are nothing without mobility, the soul of the mouth. If neither sculpture, nor the palette with its varied resources, can convey the spell of perfect lips, how can it be done in black letters of ink only? Nothing is so difficult, nothing so beautiful. There are lips which have an elongated curve (of the upper one), ending with a slight curl, like a ringlet at the end of a tress, like those tiny wavelets on a level sand which float in before the tide, or like a frond of fern unrolling. In this curl there lurks a smile, so that she can scarcely open her mouth without a laugh, or the look of one. These upper lips are drawn with parallel lines, the verge is defined by two lines near together, enclosing the narrowest space possible, which is ever so faintly less coloured than the substance of the lip. This makes the mouth appear larger than it really is; the bow, too, is more flattened than in the pure Greek lip. It is beautiful, but not perfect, tempting, mischievous, not retiring, and belongs to a woman who is never long alone. To describe it first is natural, because this mouth is itself the face, and the rest of the features are grouped to it. If you think of her you think of her mouth only--the face appears as memory acts, but the mouth is distinct, the remainder uncertain. She laughs and the curl runs upwards, so that you must laugh too, you cannot help it. Had the curl gone downwards, as with habitually melancholy people, you might have withstood her smile. The room is never dull where she is, for there is a distinct character in it--a woman--and not a mere living creature, and it is noticeable that if there are five or six or more present, somehow the conversation centres round her.

There was a lady I knew who had lips like these. Of the kind they were perfect. Though she was barely fourteen she was _the_ woman of that circle by the magnetism of her mouth. When we all met together in the evening all that went on in some way or other centred about her. By consent the choice of what game should be played was left to her to decide. She was asked if it was not time for some one to sing, and the very mistress of the household referred to her whether we should have another round or go in to supper. Of course, she always decided as she supposed the hostess wished. At supper, if there was a delicacy on the table it was invariably offered to her. The eagerness of the elderly gentlemen, who presumed on their grey locks and conventional harmlessness to press their attentions upon her, showed who was the most attractive person in the room. Younger men feel a certain reserve, and do not reveal their inclinations before a crowd, but the harmless old gentleman makes no secret of his admiration. She managed them all, old and young, with unconscious tact, and never left the ranks of the other ladies as a crude flirt would have done. This tact and way of modestly holding back when so many would have pushed her too much to the front retained for her the good word of her own sex. If a dance was proposed it was left to her to say yes or no, and if it was not too late the answer was usually in the affirmative. So in the morning, should we make an excursion to some view or pleasant wood, all eyes rested upon her, and if she thought it fine enough away we went.

Her features were rather fine, but not especially so; her complexion a little dusky, eyes grey, and dark hair; her figure moderately tall, slender but shapely. She was always dressed well; a certain taste marked her in everything. Upon introduction no one would have thought anything of her; they would have said, "insignificant--plain;" in half an hour, "different to most girls;" in an hour, "extremely pleasant;" in a day, "a singularly attractive girl;" and so on, till her empire was established. It was not the features--it was the mouth, the curling lips, the vivacity and life that sparkled in them. There is wine, deep-coloured, strong, but smooth at the surface. There is champagne with its richness continually rushing to the rim. Her lips flowed with champagne. It requires a clever man indeed to judge of men; now how could so young and inexperienced a creature distinguish the best from so many suitors?

[The end]
Richard Jefferies's essay: Beauty In The Country

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