In a Green Shade: A Country Commentary — Inside the Classic
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was indeed a professional actress--Miss E. Dyke in the play-bills--whom Tom had first met in 1808 when the Kilkenny Theatre began a meteor-course. He had lent himself as an amateur to the enterprise, was David in _The Rivals_, Spado (with song) in _A Castle of Andalusia_. In 1809, for three weeks on end, he had been Peeping Tom of Coventry to the Lady Godiva of Miss E. Dyke. The rest is easy guessing, and so it is that Tom's parents were dismayed, and that there was a "degree of coldness." Lady Godiva, indeed!
But Bessy was not long in showing herself as good as gold, or approving herself to some of Tom's best friends. Lady Donegal and her sharp-tongued sister, Mary Godfrey, both took to her. "Give our love, honest, downright love to Bessy," they write. Rogers called her Psyche, had the pair to stay with him, stayed with them in his turn, and gave Bessy handsome sums for the charities in which she abounded all her life. Rogers knew simplicity when he saw it, and had no vitriol on hand when she was in the way. I don't think Tom ever took her to Ireland with him, or that, consequently, she ever met his parents in the flesh; but no doubt that they accepted her, and esteemed her.
Bit by bit she reveals herself in Tom's random diaries. As in the printing of a photograph the lights and darks come sparsely out, and unawares the delicate outline, so by a word here, a phrase elsewhere, we realise the presence of a sweet-natured, sound-minded girl, and more than that, of a girl with character. After a spell of Brompton lodgings Tom took her to Kegworth in Leicestershire, where he was to have the neighbourhood and countenance of his patron of the moment, Moira, the Regent's jackal, a solemn, empty-headed lord. Donington Hall and Bessy appear together in a letter to Mary Godfrey.
"... I took Bessy yesterday to Lord Moira's, and she was not half so much struck with its grandeur as I expected. She said, in coming out, 'I like Mr. Rogers's house ten times better.'"
Tom feels it necessary to explain such remarkable taste. "She loves everything by association, and she was very happy in Rogers's house." I don't know whether Tom's simplicity or Bessy's is the more remarkable in all this. Tom's, I think.
"Lady Loudoun and Lord Moira called upon us on their way to town and brought pine apples, etc." One sees them at it; and the very next letter he writes is dated "Donington Park." Tom fairly lets himself go over it.
"... I think it would have pleased you to see _my wife_ in one of Lord Moira's carriages, with his servant riding after her, and Lady Loudoun's crimson travelling-cloak round her to keep her comfortable. It is a glorious triumph of good conduct on both sides, and makes my heart happier and prouder than all the best worldly connections could possibly have done. The dear girl and I sometimes look at each other with astonishment in our splendid room here, and she says she is quite sure it must be all a dream."
Marble halls, in fact; but let us see how it acted upon Bessy. Shortly after: "... I am just returned from a most delightful little tour with Rogers, poor Bessy being too ill and too fatigued with the ceremonies of the week to accompany us." That was to be the way of it for the rest of their lives together. She would never go to the great houses if she could by any means avoid it, but bore him no grudge for going without her, and was always open-armed for his return.
Mayfield Cottage, Ashbourne, was their next harbourage; and here is a Wheatley picture of them on their way to a dinner-party.
"We dined out to-day at the Ackroyds', neighbours of ours ... we found, in the middle of our walk, that we were near half an hour too early, so we set to practising country-dances in the middle of a retired green lane till the time was expired."
Then he takes her to the Ashbourne ball, and for once leaves himself out of the letter.
"... You cannot imagine what a sensation Bessy excited at the Ball the other night. She was prettily dressed, and certainly looked very beautiful.... She was very much frightened, but she got through it very well. She wore a turban that night to please me, and she looks better in it than anything else; for it strikes everybody almost that sees her, how like the form and expression of her face are to Catalani's, and a turban is the thing for that kind of character."
Maurice Hewlett opens In a Green Shade by acknowledging the title's ambiguity in an age of scientific homophones, contrasting Andrew Marvell's pastoral shade with the modern green eyeshade. This self-aware gesture sets the tone for a collection that moves between a garden made in his own image and a house built for posterity, where thoughts take colour from the surroundings. The essays, revised from periodical publications, are anchored in a specific locale—Broadchalke—and in the rhythms of rural life: trees, flowers, birds, and the church bell. Hewlett presents himself as a sojourner observing embodied tradition, respect for nature, and subservience to use, both indoors and out.
The Garden as Seed-Plot
Hewlett's garden is not merely a setting but an active agent in his thinking. He describes it as a place where thoughts rise and take colour, a seed-plot for leisurely reflection. The house, built in a day when men wrought for posterity, reinforces a sense of permanency. This spatial framing recurs throughout the essays: the garden and its calendar of trees and flowers, the birds chiming the hours, the church bell calling the community. The physical environment shapes the commentary, grounding abstract ideas in tangible details. Hewlett's attention to the made landscape—the garden as an image of its maker—suggests a deliberate crafting of both place and prose.
Liberty and the Local Vote
A recurring thread in the excerpts is Hewlett's engagement with liberty, particularly as it manifests in village life. He recounts his role as a magistrate certifying conscientious objections to the Vaccination Act, signing away chances for hundreds of children despite his own misgivings. The local attitude toward prohibition reveals a similar individualism: one abstainer argues that if the law cuts off drink, it also cuts off the credit of temperance. Hewlett presents the dilemma without resolving it, noting that his village would vote against prohibition. These episodes illustrate a broader tension between abstract anarchy and concrete governance, with the peasantry—Hodge and his fellows—wanting only to earn their livelihood and dig their plots.
Fermentation and Metaphor
An essay on winemaking becomes a vehicle for Hewlett's method. He puzzles over whether to use yeast, whether to burn sulphur matches in the vat, and whether to sprinkle plaster of Paris on the must. The French practice, the Italian preference for frizzante, and the English verdict of 'beastly' are weighed with a mixture of curiosity and self-deprecation. The process mirrors the essays themselves: a fermentation of ideas that stops of its own accord, 'by the grace of God.' Hewlett's willingness to admit ignorance—'why, I don't know'—and to learn from stomach-ache and biliary experiences gives the writing a provisional, exploratory quality. The passage on prohibition follows naturally, as if the wine question leads directly to questions of compulsion and choice.
The Peasantry and Political Change
Hewlett's observations on the peasantry are grounded in specific claims: they will never strike for political ends, they see that making parliamentary government impossible makes a Labour majority not worth having, and they do not want revolution. He predicts that Mr. Smillie will rend the Labour party and see the agricultural vote drop off. The tone is assured but not dogmatic, drawing on local knowledge rather than abstract theory. Hewlett's 'I know the peasantry' is a claim of familiarity, not omniscience. The essays thus move between the general and the particular, using village gossip, magisterial duties, and domestic experiments as evidence for broader reflections on English character and the limits of reform.
Hewlett's commentary is best approached as a series of linked meditations rather than a systematic argument. The essays reward attention to their local details—the sulphur match, the conscientious objector, the garden calendar—and to the way Hewlett lets ideas ferment without forcing a conclusion. Readers interested in early twentieth-century rural life, the essay form, or the intersection of personal observation and political reflection will find here a voice that is specific, self-aware, and deliberately unhurried.
I finished In a Green Shade with that odd ache of leaving a quiet garden at dusk—Hewlett’s thoughts on liberty and old England felt less like essays, more like a friend’s unhurried murmuring. It reminded me of another book that lingered the same way, As We Were Saying — Reading Companion, whose gentle digressions left a similar warmth behind.
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