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The attitude of the creatures and of natural forces like the wind and the brook towards Bevis is much like that of a doting parent. They regularly address him as "dearest", giving a strong impression of sentimentality. In its depiction of the struggle of nature through a child's involvement, it can
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There is at Coate a reservoir … of some 80 acres of water. I think I could write a book on that great pond. I mapped it, and laid down the shallows and sand-banks, when I was a schoolboy, and I learnt how to manage a sailing boat on it, even the mussels slowly crawling on the bottom, I believe,
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is a "realistic" portrayal of the adventures of a young boy. Jefferies may have been inspired to turn to childhood as a subject by his experience of fatherhood – his son Harold had been born in 1875; but it was his own memories of childhood on a
Wiltshire farm that provided much of the material.
83:. The book is "Inscribed to Harold"; and Jefferies' notebook entry for April 28, 1880 notes "H. dropped his flowers and reached for the butterfly", recalled in a description of Bevis chasing a butterfly in chapter 1.
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Thomas (1909), 164, "The boy Mark is his younger brother, Harry
Jefferies, a robust and daring boy, who afterwards went to America and stayed there." Keith (1965), 71 "Orion is an early portrait of Mark."
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that focus on the character of Bevis, a young boy living on a farm. Although the books share characters and setting, they differ greatly in the fictional rules of the world portrayed: in
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Jefferies seems to have been drawn to the theme of childhood by his son, Harold (Richard Harold
Jefferies), who was five years old in 1880, when Jefferies started work on
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Although it is hard to imagine a child audience for the book, it was taken by its first reviewers as a work of children's literature, and criticised as such.
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Orion, who seems to be based on
Jefferies' younger brother, prepares us for Mark, whom Thomas also sees as based on Jefferies' brother.
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Carpenter (1985), 112; Hunt (2001), 145, speaks of its "treacly beautiful-mystic-child dialogue".
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It served as the model for the genre of "holiday adventure" stories, in particular for
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indicates one of the models for the book. Jefferies had originally intended to add
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and cited it in a list of books about lakes that might interest a reader of
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In a letter written in
December 1876 to Oswald Crawfurd, editor of the
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Secret
Gardens: A Study of the Golden Age of Children's Literature
45:, animals and plants can talk to Bevis and to each other, while
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Carpenter (1985), 114; Hunt (2001), 117; 146. Ransome knew
142:. Boston: Houghton Mifflin Company, 1985. ISBN 0395352932
149:. London: Francis Lincoln, (ed. 2) 2006. ISBN 071122692X
177:. Aldershot: Scolar Press, 1993. ISBN 0859679187
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175:Richard Jefferies, A bibliographical study
156:. Oxford: Blackwell, 2001. ISBN 0631211403
166:Looker, Samuel J. and Crichton Porteous,
147:Arthur Ransome and Captain Flint's Trunk
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184:Richard Jefferies: His Life and Work
168:Richard Jefferies, Man of the Fields
161:Richard Jefferies: A Critical Study
239:Miller and Matthews (1993), 241-2.
221:Miller and Matthews (1993), 238-9.
173:Miller, George and Hugoe Matthews
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230:Miller and Matthews (1993), 241.
212:Looker and Porteous (1965), 29.
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101:be seen as a forerunner to
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170:. London: John Baker, 1965
70:have taught me something.
274:: Hardyment (2006), 240.
257:Carpenter (1985), 111.
145:Hardyment, Christina,
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154:Children's Literature
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37:(1882) are novels by
272:Swallows and Amazons
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31:(1881) and
133:References
81:Wood Magic
75:Wood Magic
54:Background
43:Wood Magic
28:Wood Magic
191:Footnotes
88:A Fable
268:Bevis
115:Bevis
47:Bevis
34:Bevis
16:<
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