Amaryllis at the Fair · Chapters
Chapters explained
Chapter companions for Amaryllis at the Fair by Richard Jefferies.
Chapter 1
Dedication
The book is dedicated to Charles Prestwich Scott.
Chapter 2
Epigraph
The chapter opens with a single line from the Greek poet Alcæus, serving as an epigraph that sets a tone of carpe diem and the fleeting nature of life.
Chapter 3
Amaryllis at the Fair
Amaryllis attends the fair, observing the crowd and experiencing a mix of wonder and alienation. She encounters various characters and feels the pull of different social worlds, reflecting on her own place between them.
Chapter 4
I
Amaryllis Iden discovers the first daffodil of spring and calls her father to see it. Mr. Iden reflects on the flower's connection to his great-uncle Richard, a remarkable ancestor who was both a poet and a successful businessman. Amaryllis struggles against the harsh east wind and later accompanies her father to his potato patch, pondering the paradox of his hard work and the family's poverty.
Chapter 5
II
Amaryllis returns indoors and is confronted by her mother, who criticizes her father's preoccupation with potatoes and old stories. Amaryllis retreats to her room, where she examines her ankles, feeling ashamed after other girls called them thick, but she rationalizes they are well-shaped and strong. She considers using macassar oil on her hair but fears her father's disapproval and hides the bottle. At dinner, strict silence is enforced by Mr. Iden, who dominates the meal with his talk about the quality of the mutton and potatoes, while Amaryllis and Mrs. Iden avoid praising the food to prevent being forced to eat more.
Chapter 6
III
The chapter details a tense family dinner at the Iden household, focusing on Mr. Iden's rigid philosophy of eating and his conflicts with Mrs. Iden and Amaryllis over food choices, pronunciation, and table manners.
Chapter 7
IV
After the midday meal, Mr. Iden settles into his armchair to read the newspaper and then nap, while Mrs. Iden and Amaryllis clear the dishes. Mrs. Iden shakes her fist at him through the window, muttering her resentment. Iden feigns sleep, watching mice feed on crumbs from his trousers, despite setting traps for them elsewhere. The narrative reflects on the worn panel of the wainscot, a mark of thirty years of his head resting there, symbolizing the family's two hundred years of unhappiness and the torture of thought.
Chapter 8
V
Iden rests after his midday meal, thinking and eating a baked apple while reflecting on the virtues of fruit and America. Mrs. Iden confronts him angrily about his sleeping and lack of money-making, thumping him as he leaves for the garden. Later, in a fit of rage, she tramples the daffodil Amaryllis had found, then retreats to her bedroom to cry over a faded glove from her honeymoon. Amaryllis quietly prepares tea, defending her father in her thoughts but remaining silent to avoid conflict.
Chapter 9
VI
Amaryllis watches the crowd heading to Lady-day Fair from a hidden vantage point in the orchard, observing the varied types of men and women—from coarse laborers to a rakish gentleman—and reflecting on the degradation of tramps and the unconscious influence of sex that draws her to watch.
Chapter 10
VII
Amaryllis observes the crowd heading to the fair from her perch on a wall, fixating on the ugliness of the men passing by. She accidentally drops moss on Jack Duck's hat as he walks beneath her. Later, Jack Duck visits the Iden home, where he is warmly received by Mrs. Iden and offers to take Amaryllis to the fair in his dog-trap.
Chapter 11
VIII
Amaryllis is forced to go to the fair against her will. Iden and Mrs. Iden have a bitter argument about their families. John Duck, a wealthy farmer's son, shows interest in Amaryllis. Amaryllis defiantly refuses to ride with him and walks instead.
Chapter 12
IX
The chapter explores the discord between Mr. and Mrs. Iden, focusing on Mr. Iden's habit of walking barefoot in the dew and Mrs. Iden's scornful reaction. It reflects on the misalignment of their true natures with their lives, and touches on moments of harmony over lavender, as well as the profound sadness of attending the theatre after a funeral.
Chapter 13
X
Amaryllis visits her grandfather, Father Iden, at his bakery in Woolhorton. He measures her height on his silver-mounted peel, quizzes her about her father, and leads her into his smoke-filled parlour to show her his valuable book collection. The chapter also describes the bustling fair, the history of lardy-cakes, and Amaryllis's passing by the shoemaker Tiras Wise.
Chapter 14
XI
Amaryllis reads to Grandfather Iden in his smoke-filled library, trying to please him for her father's sake. She observes his collection of hand-bound books with the Flamma Lamp emblem, and his habit of pressing flowers and leaves between pages. He shows her political memoranda about voter growth, and she reflects on her mixed Iden-Flamma heritage, her hatred of the Flamma family, and her fierce loyalty to her father.
Chapter 15
XII
Amaryllis attends Grandfather Iden's annual dinner, where she feels scrutinized and undervalued by her relatives. She reflects on her status as the only Miss Iden and heiress, while her father's absence highlights the family rift. Grandfather Iden's eccentricities, including his diet of pork and superstitions, are detailed.
Chapter 16
XIII
At a family dinner hosted by Grandfather Iden, Amaryllis watches as he distributes sovereigns to his descendants, culminating in a spade-guinea for her. She feels humiliated by her worn boots and angered by his neglect of her parents. When he later invites her for a walk, she rebels by hiding the guinea under a dressing-table.
Chapter 17
XIV
Amaryllis and her grandfather navigate the crowded Woolhorton fair, where she encounters reminders of her family's strained relations and the cynical gaze of Ned Marks. After the crush, Iden leads her to the Abbey church, showing her the architectural details and unlocking a door as if revealing a treasure.
Chapter 18
XV
Grandfather Iden takes Amaryllis onto the private lawns of the Pamment mansion, a privilege he alone enjoys. Amaryllis, however, resents being brought there, as she despises the Pamments as symbols of oppression and medieval tyranny. While Iden revels in his access and bows reverently to a figure at the window, Amaryllis stands in silent rebellion, her Flamma-bred hatred of authority clashing with her grandfather's obsequious loyalty.
Chapter 19
XVI
The chapter introduces young Raleigh Pamment, a wealthy but idle aristocrat who spends his time betting, drinking, and lounging. It describes his recent escape to the countryside after a brawl at a London bar, his lavish spending habits, and the adoration he receives from his valet Nobbs, who imitates him slavishly. The narrative reflects on the pleasures of extravagant spending in London and contrasts Raleigh's lifestyle with the working classes.
Chapter 20
XVII
Amaryllis is forced by her grandfather to visit the Pamment mansion, where she is treated as a curiosity. Despite Raleigh Pamment's attempts to be pleasant, she rebels against the condescension and the pressure to admire the family's art and status, ultimately fleeing the house and injuring her hand in the process.
Chapter 21
XVIII
Raleigh Pamment, after his encounter with Amaryllis, feels ashamed and angry at himself for treating her like a common fair wench. He quarrels and fights with Fred, while Grandfather Iden returns home in a rage, writes a letter, and broods. Amaryllis, having escaped the fair, returns home to face her parents' fury over the lost spade-guinea, endures their harsh reproaches, and retreats to her bedroom in misery.
Chapter 22
XIX
Amaryllis is unexpectedly praised by her parents after Grandfather Iden sends an angry letter about her behavior at the fair. She uses the sovereign her father gave her to buy boots for herself and her mother, as well as bloaters for her mother, but her father is repulsed by the smell of the fish.
Chapter 23
XX
Amaryllis struggles to draw amidst the family's crushing debt, finding solace only in her garret sanctuary with wild violets, while her father Iden remains outwardly calm.
Chapter 24
XXI
Amaryllis works diligently in a cold garret on her drawings, facing repeated rejections from publishers and editors. She struggles with the cold, her mother's discouragement, and the sight of her father Iden working in the rain or gossiping at the stile, which puzzles and hurts her. The chapter explores her artistic failure, the lack of sympathy with her mother, and the harsh reality that merit alone does not guarantee success. Only Iden's appreciation of one sketch gives her a brief gleam of hope, but the procession of creditors ultimately causes her to neglect her portfolio.
Chapter 25
XXII
The Iden family faces relentless harassment from creditors. Iden's credit is exhausted in town, forcing them to deal with rude village tradesmen who demand payment. A bailiff stays in their home, prompting Iden to temporarily transform his appearance and seek funds, but he fails. Amaryllis, disturbed in her garret, defends her mother from an aggressive baker. The chapter highlights the family's financial desperation and social humiliation.
Chapter 26
XXIII
Amaryllis and her family struggle to reclaim the comfort of their kitchen after the bailiff's visit. The chapter describes the kitchen's homely charm, Iden's stories of his adventurous youth, and the family's fondness for the room. Jearje, the cheerful laborer, gradually restores the kitchen's warmth through his hearty eating and grateful demeanor, becoming a beloved presence in the household.
Chapter 27
XXIV
Amaryllis struggles with the crushing weight of financial worry and her family's troubles, which stifle her artistic spirit. She reflects on the dual nature of money—its power for good and evil—as she faces her father's harsh criticism of her drawings, her mother's deteriorating mental health, and the condescension of her father's solicitor. The chapter draws a parallel between the sovereign and the Arabian dinar, emphasizing how material concerns dominate her thoughts and paralyze her creativity.
Chapter 28
XXV
Amaryllis prays daily at her window-niche, bringing flowers from the woods and fields, and pours out a heartfelt prayer for her mother's health and happiness, her father's relief from debt and overwork, and for the family's financial stability. After praying, she recalls a recurring dream of fire in the thatch, which she interprets as a possible omen of disaster. She then goes downstairs to find two visitors: Amadis Iden and Alere Flamma.
Chapter 29
XXVI
Amadis Iden and Alere Flamma arrive at Coombe Oaks, both pale and ill—Amadis from low fever, Alere from the effects of Fleet Street and the bottle. They spend a month in the summerhouse Iden built, talking and healing in the pastoral setting. Amaryllis, now a woman, reconnects with Amadis, whom she last saw three years ago. The chapter celebrates Iden's genius for making things grow and the restorative power of nature and conversation.
Chapter 30
XXVII
This chapter explores the character and lifestyle of Alere Flamma, an artist and engraver who works in Fleet Street. It describes his refusal to conform to social expectations (such as wearing a dress coat), his unconventional work habits, his passion for wild flowers and landscape sketches, and his vast collection of sketches. The chapter also reflects on the passage of time and the fading of romance with age, while highlighting Flamma's unique artistic vision and his disdain for commercial demands.
Chapter 31
XXVIII
This chapter explores the character of Alere Flamma, emphasizing his inherent truthfulness and inability to conform to the artificial conventions of landscape painting. It contrasts the false, 'dress-coat' nature of contemporary art with the genuine, unadorned beauty of the natural world. Flamma's simple, unpretentious lodgings and his role as a mentor to Amaryllis are described, along with his reputation among the great and his refusal to leave Fleet Street for fame or fortune, driven by a lack of ambition and indifference to money.
Chapter 32
XXIX
The chapter reflects on Fleet Street as the cerebral center of the world, where ideas flow from the printing press. It contrasts the joyous pastoral ideal with the grim reality of urban poverty. Alere Flamma is depicted as a charitable figure who gives to the wretched—starving women, ragged children, and drunkards' wives—while the rich organize alms through a dehumanizing ticket system. The narrator criticizes the hypocrisy of wealthy philanthropists who prioritize dogs over humans and suggests a chilling 'apparatus' for painless death. The chapter underscores the inescapable pull of Fleet Street for those who have once been immersed in its intellectual and desperate life.
Chapter 33
Alere Flamma's Retreat to Coombe Oaks
The chapter describes Alere Flamma's life in Fleet Street, his generosity to the poor and to printer's boys, and his periodic retreats to Iden's garden at Coombe Oaks to recover his health with good ale. It contrasts the failure of modern medicines with the restorative power of genuine old ale, and shows Flamma's bond with the Iden family.
Chapter 34
XXXI
Amadis Iden, invigorated by Goliath ale, plays the flute for Amaryllis in the meadow, while Alere reflects on his own experiments with various remedies, including a humorous encounter with an American who recommended crude petroleum for his cough.
Chapter 35
XXXII
Amadis attempts to churn butter but fails due to his weak health, causing him disappointment. Mrs. Iden scolds the maid Luce for idling, then feeds the farmhands and local children with hearty food, which the narrator contrasts with the scientific, meager diets advocated by reformers.
Chapter 36
XXXIII
Amadis struggles with his weakness and self-contempt as he is nursed by Amaryllis, while the household bustles with activity. Mrs. Iden scolds the idlers, but the scene reflects a pastoral peace and plenty, contrasting Amadis's inner bitterness with the robust life around him.
Chapter 37
XXXIV
Amaryllis and Amadis escape to the Brook-Field meadow, where they sit together on a fallen oak trunk, lost in love. The narrator reflects on the unfitness of their match—Amaryllis strong and full of life, Amadis weak and penniless—and contrasts their idyllic interlude with the practical, perfectionist world of Iden, whose meticulous gate-building symbolizes his timeless but impractical nature. The chapter ends by leaving the lovers in their 'Interlude in Heaven.'
Chapter 38
Endnotes
A single endnote indicating that the endnotes are reprinted in part from The Academy of April 4th, 1903.
