They left the apple-bloom behind them, and going down the gravel-path passed the plum trees—the daffodils there were over now—by the strawberry patch which Iden had planted under the parlour window; by the great box-hedge where a thrush sat on her nest undisturbed, though Amaryllis's dress brushed the branches; by the espalier apple, to the little orchard-gate.

The parlour-window—there are no parlours now, except in old country houses; there were parlours in the days of Queen Anne; in the modern villas they have drawing-rooms.

The parlour-window hung over with pear-tree branches, planted beneath with strawberry; white blossom above, white flower beneath; birds' nests in the branches of the pear—that was Iden.

They opened the little orchard-gate which pushed heavily against the tall meadow-grass growing between the bars. The path was almost gone—grown out with grass, and as they moved they left a broad trail behind them.

Bill Nye the mower, had he seen, would have muttered to himself; they were trespassing on his mowing-grass, trampling it, and making it more difficult to cut.

Her dress swept over the bennets and shook the thick-stemmed butter-cups—branched like the golden candlestick, and with flowers of golden flame. For the burnished petals reflect the sun, and throw light back into the air.

Amadis began to drag behind—he could not walk much farther; they sat down together on the trunk of an oak that had been felled by a gateway close to the horse-chestnut trees Iden had planted. Even with his back leaning against a limb of the oak, Amadis had to partly support himself with his hands.

What was the use of such a man?—He had nothing but his absurdly romantic name from Don Quixote to recommend him.

That was the very thought that gnawed at poor Amadis's heart as he sat by her side. What use to care for him?

Iden's flag-basket of tools lay by the gate, it was a new gate, and he had been fitting it before he went in to lunch. His basket was of flag because the substance of the flag is soft, and the tools, chisels, and so on, laid pleasant in it; he must have everything right. The new gate was of solid oak, no "sappy" stuff, real heart of oak, well-seasoned, without a split, fine, close-grained timber, cut on the farm, and kept till it was thoroughly fit, genuine English oak. If you would only consider Iden's gate you might see there the man.

This gateway was only between two meadows, and the ordinary farmer, when the old gate wore out, would have stopped it with a couple of rails, or a hurdle or two, something very, very cheap and rough; at most a gate knocked up by the village carpenter of ash and willow, at the lowest possible charge.

Iden could not find a carpenter good enough to make his gate in the hamlet; he sent for one ten miles, and paid him full carpenter's wages. He was not satisfied then, he watched the man at his work to see that the least little detail was done correctly, till the fellow would have left the job, had he not been made pliable by the Goliath ale. So he just stretched the job out as long as he could, and talked and talked with Iden, and stroked him the right way, and drank the ale, and "played it upon me and on William, That day in a way I despise." Till what with the planing, and shaving, and smoothing, and morticing, and ale, and time, it footed up a pretty bill, enough for three commonplace gates, not of the Iden style.

Why, Iden had put away those pieces of timber years before for this very purpose, and had watched the sawyers saw them out at the pit. They would have made good oak furniture. There was nothing special or particular about this gateway; he had done the same in turn for every gateway on the farm; it was the Iden way.

A splendid gate it was, when it was finished, fit for a nobleman's Home Park. I doubt, if you would find such a gate, so well proportioned, and made of such material on any great estate in the kingdom. For not even dukes can get an Iden to look after their property. An Iden is not to be "picked up," I can tell you.

The neighbourhood round about had always sneered in the broad country way at Iden's gates. "Vit for m' Lard's park. What do he want wi' such geates? A' ain't a got no cattle to speak on; any ould rail ud do as good as thuck geat."

The neighbourhood round about could never understand Iden, never could see why he had gone to such great trouble to render the homestead beautiful with trees, why he had re-planted the orchard with pleasant eating apples in the place of the old cider apples, hard and sour. "Why wouldn't thaay a' done for he as well as for we?"

All the acts of Iden seemed to the neighbourhood to be the acts of a "vool."

When he cut a hedge, for instance, Iden used to have the great bushes that bore unusually fine May bloom saved from the billhook, that they might flower in the spring. So, too, with the crab-apples—for the sake of the white blossom; so, too, with the hazel—for the nuts.

But what caused the most "wonderment" was the planting of the horse-chestnuts in the corner of the meadow? Whatever did he want with horse-chestnuts? No other horse-chestnuts grew about there. You couldn't eat the horse-chestnuts when they dropped in autumn.

In truth Iden built for all time, and not for the little circumstance of the hour. His gate was meant to last for years, rain and shine, to endure any amount of usage, to be a work of Art in itself.

His gate as the tangible symbol of his mind—was at once his strength and his folly. His strength, for it was such qualities as these that made Old England famous, and set her on the firm base whereon she now stands—built for all Time. His folly, because he made too much of little things, instead of lifting his mind higher.

If only he could have lived three hundred years the greater world would have begun to find out Iden and to idolize him, and make pilgrimages from over sea to Coombe Oaks, to hear him talk, for Iden could talk of the trees and grass, and all that the Earth bears, as if one had conversed face to face with the great god Pan himself.

But while Iden slumbered with his head against the panel—think, think, think—this shallow world of ours, this petty threescore years and ten, was slipping away. Already Amaryllis had marked with bitterness at heart the increasing stoop of the strong back.

Iden was like the great engineer who could never build a bridge, because he knew so well how a bridge ought to be built.

"Such a fuss over a mess of a gate," said Mrs. Iden, "making yourself ridiculous: I believe that carpenter is just taking advantage of you. Why can't you go into town and see your father?—it would be a hundred pounds in your pocket"—as it would have been, no doubt. If only Mrs. Iden had gone about her lecture in a pleasanter manner perhaps he would have taken her advice.

Resting upon the brown timber in the grass Amaryllis and Amadis could just see a corner of the old house through the spars of the new gate. Coombe Oaks was a grown house, if you understand; a house that had grown in the course of many generations, not built to set order; it had grown like a tree that adapts itself to circumstances, and, therefore, like the tree it was beautiful to look at. There were windows in deep notches, between gables where there was no look-out except at the pears on the wall, awkward windows, quite bewildering. A workman came to mend one one day, and could not get at it. "Darned if I ever seed such a crooked picter of a house!" said he.

A kingfisher shot across above the golden surface of the buttercups, straight for the brook, moving, as it seemed, without wings, so swiftly did he vibrate them, that only his azure hue was visible, drawn like a line of peacock blue over the gold.

In the fitness of things Amaryllis ought not to have been sitting there like this, with Amadis lost in the sweet summer dream of love.

She ought to have loved and married a Launcelot du Lake, a hero of the mighty arm, only with the income of Sir Gorgius Midas: that is the proper thing.

But the fitness of things never comes to pass—everything happens in the Turkish manner.

Here was Amaryllis, very strong and full of life, very, very young and inexperienced, very poor and without the least expectation whatever (for who could reconcile the old and the older Iden?), the daughter of poor and embarrassed parents, whom she wished and prayed to help in their coming old age. Here was Amaryllis, full of poetic feeling and half a painter at heart, full of generous sentiments—what a nature to be ground down in the sordidness of married poverty!

Here was Amadis, extremely poor, quite feeble, and unable to earn a shilling, just talking of seeing the doctor again about this fearful debility, full too, as he thought at least, of ideas—what a being to think of her!

Nothing ever happens in the fitness of things. If only now he could have regained the health and strength of six short months ago—if only that, but you see, he had not even that. He might get better; true—he might, I have tried 80 drugs and I am no better, I hope he will.

Could any blundering Sultan in the fatalistic East have put things together for them with more utter contempt of fitness? It is all in the Turkish manner, you see.

There they sat, happier and happier, and deeper and deeper in love every moment, on the brown timber in the long grass, their hearts as full of love as the meadow was of sunshine.

You have heard of the Sun's Golden Cup, in which after sunset he was carried over Ocean's stream, while we slumber in the night, to land again in the East and give us the joy of his rising. The great Golden Cup in which Hercules, too, was taken over; it was as if that Cup had been filled to the brim with the nectar of love and placed at the lips to drink, inexhaustible.

In the play of Faust—Alere's Faust—Goethe has put an interlude, an Intermezzo; I shall leave Amaryllis and Amadis in their Interlude in Heaven. Let the Play of Human Life, with its sorrows and its Dread, pause awhile; let Care go aside behind the wings, let Debt and Poverty unrobe, let Age stand upright, let Time stop still (oh, Miracle! as the Sun did in the Vale of Ajalon). Let us leave our lovers in the Interlude in Heaven.

And as I must leave them (I trust but for a little while) I will leave them on the brown oak timber, sap-stain brown, in the sunshine and dancing shadow of summer, among the long grass and the wild flowers.