Amaryllis at the Fair · Chapter
XXVIII explained
This chapter explores the character of Alere Flamma, emphasizing his inherent truthfulness and inability to conform to the artificial conventions of landscape painting.
What happens
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.
Themes in this chapter
Art, Ambition, and Failure
The chapter contrasts Alere Flamma's genuine artistic integrity with the artificiality of contemporary landscape painting, and explores his lack of ambition and indifference to fame and fortune as a form of failure by conventional standards.
Nature and the Pastoral Ideal
The narrator defends the real, unadorned beauty of nature against the 'dress-coat' representations in galleries, emphasizing the impossibility of capturing life itself, such as a bird in flight.
Individual vs. Society
Alere Flamma stands apart from societal expectations of ambition and commercial success, choosing to remain in Fleet Street despite opportunities for fame and wealth.
Characters to notice
- Old Flamma
Alere Flamma is depicted as inherently truthful, rejecting artificiality in art. He lives simply without studio props, mentors Amaryllis, and is sought after by nobility yet remains in Fleet Street, lacking ambition and caring little for money.
- Amaryllis Iden
Amaryllis is mentioned as having sat at the feet of Alere Flamma, learning from him during his retreats to Coombe Oaks.
Key passages
“Perhaps the reason Alere never took to colours was because of his inherent and unswerving truthfulness of character. Genuine to a degree, he could not make believe—could not deceive—could not masquerade in a dress-coat.”
Alere's refusal to use color in his art stemmed from his deep honesty; he was incapable of pretending or disguising reality.
Explains Alere's artistic integrity and rejection of artificiality.
“You cannot draw a bird in flight. Swallows are attempted oftenest, and done worst of all. How can you draw life itself?”
It is impossible to capture the essence of a living creature in motion, especially a swallow in flight, because life itself cannot be defined or rendered.
Highlights the narrator's view on the limits of art in representing nature.
“The most ignorant of men are the 'practical' people. It is meet and fitting that they should be worshipped and set on high. The calf worshipped of old was at least golden, and these are of lead.”
So-called practical people are actually the most ignorant, yet they are revered, though the golden calf of old was worth more than their leaden achievements.
Critique of modern practicality versus true artistic vision.