The Open Air — A Closer Reading
Edition facts
The catalog record for The Open Air — A Closer Reading provides practical reading context through 79,302 words, 5 hr 45 min estimated reading time, and 6 detected text sections.
The text analysis averages about 24.8 words per sentence, while the detected sections provide another way to judge how the source is divided.
Project Gutenberg metadata also associates the work with “Natural history -- Outdoor books,” connecting these edition facts with the source record’s subject description.
Calculated from edition completeness, EPUB availability, text structure and catalogue metadata. Not a user rating.
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- Description quality20 pts
- Title & short description10 pts
- Source metadata20 pts
- Text length15 pts
- Chapters / structure15 pts
- EPUB file integrity20 pts
Total of 100 points, scaled to a 2.5-5.0 range. Editions with an empty description or a missing EPUB file are not scored.
Read the Text
Guido was descending the slope, for little feet always go down the hill as water does, and when he looked back he found that he had left the fir-trees so far behind he was in the middle of the field. If any one had looked they could hardly have seen him, and if he had taken his cap off they could not have done so because the yellow curls would be so much the same colour as the yellow corn. He stooped to see how nicely he could hide himself, then he knelt, and in a minute sat down, so that the wheat rose up high above him.
Another humble-bee went over along the tips of the wheat--burr-rr--as he passed; then a scarlet fly, and next a bright yellow wasp who was telling a friend flying behind him that he knew where there was such a capital piece of wood to bite up into tiny pieces and make into paper for the nest in the thatch, but his friend wanted to go to the house because there was a pear quite ripe there on the wall. Next came a moth, and after the moth a golden fly, and three gnats, and a mouse ran along the dry ground with a curious sniffling rustle close to Guido. A shrill cry came down out of the air, and looking up he saw two swifts turning circles, and as they passed each other they shrieked--their voices were so shrill they shrieked. They were only saying that in a month their little swifts in the slates would be able to fly. While he sat so quiet on the ground and hidden by the wheat, he heard a cuckoo such a long way off it sounded like a watch when it is covered up. "Cuckoo" did not come full and distinct--it was such a tiny little "cuckoo" caught in the hollow of Guido's ear. The cuckoo must have been a mile away.
Suddenly he thought something went over, and yet he did not see it--perhaps it was the shadow--and he looked up and saw a large bird not very far up, not farther than he could fling, or shoot his arrows, and the bird was fluttering his wings, but did not move away farther, as if he had been tied in the air. Guido knew it was a hawk, and the hawk was staying there to see if there was a mouse or a little bird in the wheat. After a minute the hawk stopped fluttering and lifted his wings together as a butterfly does when he shuts his, and down the hawk came, straight into the corn. "Go away!" shouted Guido jumping up, and flinging his cap, and the hawk, dreadfully frightened and terribly cross, checked himself and rose again with an angry rush. So the mouse escaped, but Guido could not find his cap for some time. Then he went on, and still the ground sloping sent him down the hill till he came close to the copse.
Some sparrows came out from the copse, and he stopped and saw one of them perch on a stalk of wheat, with one foot above the other sideways, so that he could pick at the ear and get the corn. Guido watched the sparrow clear the ear, then he moved, and the sparrows flew back to the copse, where they chattered at him for disturbing them. There was a ditch between the corn and the copse, and a streamlet; he picked up a stone and threw it in, and the splash frightened a rabbit, who slipped over the bank and into a hole. The boughs of an oak reached out across to the corn, and made so pleasant a shade that Guido, who was very hot from walking in the sun, sat down on the bank of the streamlet with his feet dangling over it, and watched the floating grass sway slowly as the water ran. Gently he leaned back till his back rested on the sloping ground--he raised one knee, and left the other foot over the verge where the tip of the tallest rushes touched it. Before he had been there a minute he remembered the secret which a fern had taught him.
The opening essay, 'Saint Guido,' introduces a boy who runs through a sandy lane into a wheat-field, expecting 'the magic would begin.' Jefferies describes him with a painterly vocabulary—'golden curls,' 'Nimbus or circlet of glory'—but undercuts the reverence by calling him 'a very, very wild saint.' The prose shifts between lyrical intensity and dry humor, a pattern that recurs throughout the collection.
Later, in 'The Modern Thames,' Jefferies adopts a mock-heroic tone, advising readers to avoid rowing and instead let athletes tow the boat while one enjoys cigarettes and champagne. The catalog subjects list 'Natural history' and 'Country life,' but the excerpts show Jefferies equally interested in human behavior and social types, from the 'beach-comber' who curses to the 'gentlemen in flannel' laboring at tow-ropes.
A Painterly Eye for the Natural World
Jefferies' descriptions of landscape often rely on color and light rather than scientific detail. In 'Saint Guido,' the wheat-field is 'filled with azure corn-flowers,' and the fir-trees form a 'thick wall of green.' The sky seems to 'come down' between the trees, and clouds appear to 'sail but just over them.' This is not a naturalist's inventory but a visual composition, as if the scene were a painting.
The author acknowledges this explicitly: the boy's nickname comes from those who thought 'if a great painter could be a little boy, then he would be something like this one.' The essay dwells on the haze of distance and beauty, on feelings 'not sharply defined.' Jefferies is less concerned with naming species than with capturing the emotional resonance of a place.
Satire and Social Observation on the Thames
'The Modern Thames' contrasts sharply with the pastoral opening. Jefferies presents a guide to enjoying the river 'above all things—nothing heroic.' He describes athletes 'labouring like galley-slaves at the tow-rope' while ladies sit 'comfortably seated, cool, and happy.' The cigarette smoke is 'sunshine you can handle,' and champagne bottles bear 'the label of Epernay.'
The humor turns sharper when a 'beach-comber' offers to tow the narrator and then curses him for refusing. Jefferies marvels at the swearing: 'I doubt if he knew how a Thames beach-comber can curse in these days.' He notes that on the Thames one may 'swear as the wind blows,' calling it 'a hundred miles for swearing' and 'one of the marvels of our civilisation.' The essay ends with the narrator resolving never to return to the river 'in the heroic way.'
The Single-Barrel Gun and the Pleasures of Simplicity
In 'The Single-Barrel Gun,' Jefferies reflects on a piece of sporting equipment that 'has passed out of modern sport.' He prefers its balance to a double-barrel, which feels 'top-heavy' and tends to 'droop.' The essay is not a technical treatise but a meditation on preference and nostalgia: 'I remember mine with regret, and think I shall some day buy another.'
Jefferies speculates about a hypothetical repeater that could fire multiple cartridges, but quickly dismisses the idea as 'easy thought, but a very difficult one to realise.' The passage reveals his skepticism toward progress for its own sake. The gun becomes a symbol of a quieter, more deliberate approach to sport—one that values the feel of the object over sheer efficiency.
Readers approaching The Open Air should expect not a systematic natural history but a series of personal, often ironic essays. Jefferies moves from the visionary to the mundane, from a child's magic to a boatman's curses. The catalog subject 'Country life' fits, but the book also scrutinizes London, leisure, and the oddities of human nature. Pay attention to the shifts in tone—the same author who writes of golden curls also savors a good swear.
There’s a moment in Jefferies’ cornfield—that quiet, sun-drenched bewilderment—which stayed with me long after closing the book. It made me think of the softer, more fragmentary pieces in The Grey Brethren, and Other Fragments in Prose and Verse — Edition Insights, where the same sense of lingering, unhurried watching seems to breathe between the lines. A kinship of stillness, perhaps.
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