Landscape and Literature[20]
The several races of mankind are marked off from each other by certain
bodily and mental differences which, there can be no doubt, have been
largely determined by the diverse geographical conditions of the
surface of the globe. We may be disposed to put aside the first origin
of these racial differences, as a problem which may for ever remain
insoluble. Yet we cannot refuse to admit that in the disposition of
land and sea, in the form and trend of coast-lines, in the grouping of
mountains, valleys, and plains, in the disposition and flow of rivers,
in the arrangement of climates, and in the distribution of vegetation
and animals, a series of influences must be recognized which have
unquestionably played a large part in the successive stages of human
development.
Though no record of the earliest of these stages has probably survived,
some of the later steps in the progress of advancement may not be
beyond the reach of investigation. The connection, for example,
between the circumscribing topography and geology of a country, and
the mythological creed of its inhabitants offers a tempting field of
inquiry, in which much may yet be gleaned. Who can doubt that the
legends and superstitions of ancient Greece took their form and colour
in no small measure from the mingled climates, varied scenery, and
rocky structure of that mountainous land, or that the grim titanic
mythology of Scandinavia bears witness to its birth in a region of
rugged snowy uplands, under gloomy and tempestuous skies?[21]
If the primeval efforts of the human imagination were thus stimulated
by the more impressive features of the outer world, it is natural to
believe that the same external influences would continue to exert their
power during the later mental development of a people. In particular,
it seems reasonable to anticipate that such potent causes would more
or less make themselves felt in the growth of a national literature.
The songs and ballads of the plains might be expected to present some
marked diversities from those of the mountains. There may, of course,
be risks of error in generalisations of this kind, especially where the
writings of distinct races are compared with each other. But the risks
may be reduced if we confine ourselves to the consideration of a single
country and a single literature. Such at least is the task which I have
undertaken on the present occasion. I propose to discuss the leading
types of scenery that distinguish the British Isles, and to inquire how
far it may be possible to trace from each of them an influence upon
the growth of English literature as shown in our poetry.
Under the term scenery may be included those variations in the general
aspect of the land that arise from the combined effects of three main
geographical elements—topography, climate, and vegetation. Of these
three factors, we are mainly concerned with the first, but the other
two will necessarily obtrude themselves continually on our attention.
Although geological details are not essential for the inquiry before
us, nevertheless some knowledge of them will be found of service
in enabling us to recognise more clearly the essential features of
a landscape, and to discriminate the real nature and extent of the
diversities between the landscapes of different parts of the country.
The fundamental elements of the scenery depend upon the nature and
structure of the rocks that come to the surface, and the manifold
varieties of external form arise from the constant succession of
different geological formations.
The evolution of the scenery of these islands has been a long-continued
process, wherein the chief part has been played by the air, rain,
rivers, frost, and the other superficial agencies which are continually
at work in wearing down the surface of the land. Each different kind
of rock has yielded in its own fashion to the agents of destruction.
Those rocks which have offered least resistance have been worn down
into hollows and plains. Those of a more durable nature have been
left standing up as ridges, hills, or mountains. The composition of
the rocks has likewise governed the nature of the soils and the
distribution of vegetation. Chalk, for instance, forms long ridges
of grassy and bushless down. Sandy and gravelly tracts are marked by
heather and pine-trees. Volcanic rocks often rise into isolated crags
with verdant slopes below. Granite lifts itself into mountains and
rocky moorlands, with cliffs, corries and 'tors' and long trails of
naked scree.
For the purposes of the present Lecture, I will arrange the scenery of
this country in three leading types:
| I. |
Lowlands. |
| II. |
Uplands. |
| III. |
Highlands. |
These types are not always separable from each other by any definite
lines of boundary. The lowlands, for example, include ranges of
hills, and here and there gradually rise into uplands, which in turn
occasionally mount into lofty, rugged ground that may well be called
highland. Moreover, each type presents a number of local varieties,
dependent on geological structure. Thus the English lowlands differ in
many respects from the Scottish, and both from the Irish.
The arrangement now proposed, though not strictly scientific, is for
the proposed discussion convenient. We shall find, I think, that
each of the three main types has had a perceptible influence on our
literature, and not only so, but that even the local variations of each
type have left their impress on our literary history. To treat the
subject as fully as it deserves to be treated would require a course
of lectures. I can only attempt to illustrate it by selecting a few
instances from our poets where the relation that I wish to establish
seems to be most readily perceptible.
I. The Lowlands of Britain. If a line be drawn across England
from the mouth of the Humber through the Midlands to the Bristol
Channel, it will divide the country into two sharply contrasted
portions. To the west of it, the older, harder, and therefore more
durable rocks rise into the high grounds of Wales, the Pennine Chain,
and the Lakes. To the east of it, on the other hand, the younger,
softer, and consequently more destructible, formations occupy the whole
of the territory, giving a characteristic lowland topography to the
districts that have been longest settled and cultivated, which include
the greater portion of what is most familiar and typical in English
landscape.
The eastern Lowlands of England consist of a succession of gently
undulating ridges, separated from each other by winding vales or
plains. These features have a general trend across the country from
south-west or west to north-east or east—a direction determined by the
successive outcrops of the different formations. But the denudation
of the surface has been so great and so unequal that, despite the
continuity and parallelism of the formations, their outcrops have
been worn into endless diversities of topographical detail, producing
abundant variety among the gentle profiles of the landscapes.
As examples of the ridges, we may take the North and South Downs, and
the chain of heights that stretches from Wiltshire into Norfolk. The
intervening plains may be illustrated by the Weald of Sussex, and by
the lower basin of the Thames.
The differences between the successive geological formations of the
English lowlands never pass a restricted limit in regard to composition
and structure. Essentially soft and easily decomposable, the rocks
include no thick bands of much harder material than the rest, such as
might project in prominent features. The prevailing characteristic
of the topography is therefore unbroken placidity. Nowhere does any
ruggedness obtrude itself. No part of the ground towers abruptly above
or sinks suddenly beneath the general level. The successive ranges of
low hills have rounded summits and smooth slopes, which, even when
steep, seldom allow naked rock to appear, but conceal it everywhere
under a carpet of herbage. So gentle is the inclination of the ground,
from the watersheds to the coast, that the drainage winds in sluggish
streams that often hardly seem to flow. 'Purling brooks' are scarcely
ever to be found. Since the running waters of the country have played
no inconsiderable part in the inspiration of our poets, it is well
worthy of remark that in the east and south-east of England the streams
are, for the most part, silent. We shall see how strongly they are thus
contrasted with the brooks that traverse the lowlands of the north.
Since the rocks of these eastern and southern districts decay into
soils that are on the whole fertile, the surface, well watered by the
rains from the western ocean, is clothed with meadows, corn-fields,
and gardens, while trees have been planted along the roads and
fields, and in abundant patches of coppice and woodland. The country
thus wears a verdant park-like aspect, which at once impresses the
eye of a stranger who comes here either from the European continent
or from America. Undoubtedly cultivation has in the course of long
centuries considerably altered the primeval landscapes; the progress of
agriculture having gradually narrowed the area of the once predominant
open heaths, while the ancient forests, formerly so abundant and
extensive, have wellnigh vanished. There can be little doubt, however,
that the general enclosed and cultivated character of the landscapes
has, over much of the ground, remained nearly the same as now for
hundreds of years.
One further feature of these English lowlands should be borne in
mind. They are washed by the sea along the whole of their eastern
and southern borders. Even the most inland part of them is not more
than one hundred miles from the coast. Their long lines of ridge
and down stretch to the very margin of the land, where they plunge
in picturesque cliffs to the sea-level, as in the headlands of
Flamborough, Dover, and Beachy. Moreover the coast-line is indented
by numerous bays, creeks, and inlets, which, as they allow the sea
to penetrate far into the land, furnish many admirable natural
harbours. There can be no doubt that this feature in our topography
has powerfully fostered that love of the sea which has always been a
national characteristic, and has contributed to the development of that
maritime power which has led to the establishment of our world-wide
empire.[22] To the same cause may be traced that appreciation of the
poetry of the sea so noticeable in our literature.
We may now inquire how far the placid scenery of these eastern lowlands
may have had an influence on the literary progress of the nation. It
is of course chiefly among the poets that traces of such an influence
may be expected to be discoverable. Not until comparatively late times
did prose-writers deal with scenery, save as a mere background for the
human incidents which they had to describe. It is impossible, within
the prescribed limits of a single lecture, to follow the gradual
development of an appreciation of landscape among the writers who have
lived on these English lowlands. The simple child-like delight in
Nature, so characteristic of Chaucer, and the influence of cultivated
scenery, so conspicuous in him, are readily traceable among his
successors. Shakespeare throughout his plays presents us with not a few
reminiscences of his youth among the Warwickshire woodlands. In Milton
we see how the placid rural quiet of the Colne valley inspired the two
finest lyrics in the English tongue. For a century after Milton's time,
poetry in this country ceased to have any living hold on outer nature,
but became with each generation more polished and artificial. When at
last a reaction set in, the impulse that led to the most momentous
revolution that has marked the history of English poetry came in
large measure from the writings of three poets, each of whom drew his
inspiration from lowland scenery. As illustrations therefore of the
part played by this scenery in our literature, I will cite Cowper,
Thomson, and Burns.
The retreat in the valley of the Ouse, to which Cowper escaped from the
noise and distractions of city-life, was eminently fitted by its quiet
seclusion to soothe his spirit, and to fill his eye and his imagination
with images of rural peacefulness and gentle beauty. If the choice of
such a home was of infinite service to the poet, it was hardly less
momentous in the progress of English literature.
The scenery of that valley, around Olney and Weston, is thoroughly
characteristic of the southern lowlands. The ground lies on limestones
and clays, belonging to the Oolitic series, which, though they have
been greatly denuded, have yielded in a general equable manner to the
progress of decay. They possess no such differences of structure as
to allow one part of them to project in crag or scar above the rest.
They have been worn down into a gently undulating plateau or plain,
covered with corn-fields and pastures, and dotted with occasional woods
and 'spinnies,' or patches of trees. Farms and villages diversify the
landscape, while to the north lies the forest-like expanse of Yardley
Chase. Through this champaign the River Ouse has cut for itself a
winding valley, the bottom of which, quite flat and from a few hundred
yards to upwards of a mile in breadth, lies rather more than a hundred
feet below the general level of the country. Along the flat alluvial
plain, the stream, sluggishly flowing among rushes and sedges, curves
in circuitous bends, often dividing so as to enclose insular patches of
meadow, which it entirely overspreads in times of flood. The slopes
rise softly from the river-plain, now projecting, now retreating, as
the valley winds from side to side. A gentle ascent brings us from the
banks of the Ouse up to the highest part of the ground in the vicinity,
and places before our eyes a wide sweep of rich agricultural country,
with peeps of village spires and gleams of the winding river.
Such were the simple elements of Cowper's landscape. They have no
special attraction that is not shared by hundreds of other similar
scenes in the Oolitic tracts of England. To the cursory visitor
they may even seem tame and commonplace. And yet for us, apart from
any mere beauty they may possess, they have been for ever glorified
and consecrated by the imagination of the poet. We see in them the
natural features which soothed his sorrow and gladdened his heart,
and which became the sources of an inspiration that breathed fresh
life into the poetry of England. The lapse of time has left the scene
essentially unchanged. We may take the same walks that Cowper loved,
and see the same prospects that charmed his eyes and filled his verse.
In so following his steps, we note the accuracy and felicity of his
descriptions, and appreciate more vividly the poetic genius which, out
of such simple materials, could work such a permanent change in the
attitude of his countrymen towards nature. As an illustration of his
treatment of landscape let me cite the well-known passage descriptive
of the walk between Olney and Weston—
'How oft upon yon eminence our pace
Has slackened to a pause, and we have borne
The ruffling wind, scarce conscious that it blew,
While admiration, feeding at the eye,
And still unsated, dwelt upon the scene.
Thence with what pleasure have we just discerned
The distant plough slow-moving, and beside
His labouring team, that swerved not from the track,
The sturdy swain diminished to a boy!
Here Ouse, slow-winding through a level plain
Of spacious meads with cattle sprinkled o'er,
Conducts the eye along his sinuous course
Delighted. There, fast rooted in their bank,
Stand, never overlooked, our favourite elms,
That screen the huntsman's solitary hut;
While far beyond, and overthwart the stream,
That, as with molten glass, inlays the vale,
The sloping land recedes into the clouds;
Displaying, on its varied side, the grace
Of hedge-row beauties numberless, square tower,
Tall spire, from which the sound of cheerful bells
Just undulates upon the listening ear,
Groves, heaths, and smoking villages remote.'
[23]
No scene could have been more thoroughly congenial to such a
temperament as that of Cowper. He never wearied of the sights and
sounds of that peaceful landscape. He watched its changes from hour to
hour, from day to day, and from season to season. Every change awakened
new joy in his breast, and gave fresh inspiration to his verse. And so
year after year he lived in closest communion with nature. Well might
he say that
'Scenes must be beautiful which, daily viewed
Please daily, and whose novelty survives
Long knowledge and the scrutiny of years.'
[24]
Cowper's poetic vision was like his landscape, limited, though within
its range it was searching and accurate. His timid nature shrank from
what was rugged and wild. He found his consolation in
'Nature in her cultivated trim
And dressed to his taste.'
[25]
But no one before him had revealed to men the infinite variety and
beauty and charm to be seen by the contemplative eye even in these
everyday surroundings. The calm of evening—
'With matron step slow moving, while the Night
Treads on her sweeping train,'
[26]
or the river shining in the moonlight beneath the 'wearisome but
needful length' of Olney bridge, or the creep of autumn over wood and
field and weedy fallow, or the advent of winter and the shrouding of
the valley under snow, or the coming of spring, when—
'The primrose ere her time
Peeps through the moss that clothes the hawthorn root,'
[27]
—every mood of nature in this sequestered vale is painted with a
vividness and skill that evoke our admiration, and with a sympathy and
grace which win our heart. That quiet valley has thus become classic
ground, for as long as English poetry is read, the affections of men
will be drawn to the home of Cowper by the banks of the Ouse.
The other two lowland writers whom I have selected were contemporaries
of Cowper, though Thomson died when Cowper was only seventeen years
old. In dealing with their influence, we turn to the Scottish lowlands
where they both were born, and from which came their poetic impulse.
A traveller, familiar with the low grounds of England, when he first
enters the northern lowlands is at once impressed by their much more
limited extent. He finds them to occupy comparatively restricted spaces
between uplands and highlands, their largest expanse lying in the broad
depression between the southern border of the Highland mountains and
the great tract of high pastoral land in the southern counties. Another
considerable area of them intervenes between these southern uplands
and the flanks of the Cheviot Hills. A further contrast to the English
type is to be seen in the broken character of the surface. There are
no extensive level flats like those of the English midlands, nor any
continuous bands of gentle ridge like those of the English downs. The
ground is separated into detached districts by ranges of hills, which
sometimes even become sufficiently high and broad to deserve the name
of uplands. A third characteristic arises from the great diversity of
geological structure, and especially the intercalation of abundant
volcanic rocks among the other formations. As a consequence of this
intermingling of hard and durable materials with others more easily
abraded, the topography is diversified by endless crags and hills
rising picturesquely out of the surrounding lower country, and often
crowned with ancient castles or ruined peels.
Such a disposition of the elements of the landscape is accompanied
with a much greater diversity in the mantle of vegetation than is
seen among the English lowlands. The surrounding uplands and hills,
for the most part bare of trees, are clothed with pasture, save where
they support a covering of heathy herbage or dark peat-moss. The lower
grounds have in large measure been brought under cultivation, but still
retain tracts of moorland, haunted by lapwing and curlew. Though the
ancient natural wood has mostly disappeared, hard-wood trees are now
abundant, while sombre plantations of fir give a northern character to
the landscapes.
But perhaps the feature in these Scottish lowlands which more
particularly deserves notice here, is the contrast to be found between
their streams and those of south-eastern England. Owing to the uneven
forms and steeper slopes of the ground, the drainage runs off rapidly
to the sea. The brooks are full of motion, as they tumble over
waterfalls, plunge through rocky ravines, and sweep round the boulders
that cumber their channels. They furnish, moreover, countless dells and
dingles where the native copsewoods find their surest shelter. There
the gorse and the sloe come earliest into bloom, and the wild flowers
linger longest. There too the birds make their chief home. These strips
of wild nature, winding through cultivated field or bare moor, from the
hills to the sea, offer in summer scenes of perfect repose. But they
furnish too, from time to time, pictures of tumult and uproar, when
rain-clouds have burst upon the uplands, and the streams come down in
heavy flood, pouring through the glens with a din that can be heard
from far.
Brooks and rivers have always had a fascination for poets. Their
banks supply secluded spots for reverie and communion with nature.
Under their shade and shelter, bird and blossom and flower are
guarded from the blasts around, while the sparkle and murmur of their
waters give a sense of life and companionship even in the depths of
solitude. Constant familiarity with such a type of stream as that of
the Scottish lowlands can hardly fail to strike the imagination in a
different way from that which has attended the slow-creeping and silent
brooks of the south-east of England. The Scottish poets, even in the
earlier centuries, show traces of the influence of their more rugged
surroundings; but not till the eighteenth century did this influence
manifest itself in such a manner as to affect the general flow of
English literature.
Of the two Scottish lowland poets whom we have now to notice, James
Thomson was considerably the earlier. He was born in Roxburghshire in
1700, within hearing of the ripple of the Tweed, within sight of the
Cheviot and Lammermuir Hills, and in a region famous in Border ballad
and song. To the east the uplands of the Cheviot Hills rise as a blue
ridge, high enough to come often within the clouds, to catch the first
snows of autumn, and to keep them unmelted in northern rifts until the
spring. From these long, bare undulating uplands a number of streams
descend northwards into the Tweed, each having its own dale, with its
own ridge of moors on either hand, and its meadows and cornfields along
the bottom. The slope of the ground gives these descending waters such
an impetus as sends them dashing over rocky channels, here and there
cutting a scaur or ravine, murmuring over gravelly bottoms, winding
through flat haughs, and finally finding their way into the Tweed. The
watercourses are thus in themselves full of variety and life, and their
charms are enhanced by the alternation of meadow and field, coppice,
ferny brake and woodland, through which they wander. Nor are occasional
bolder features wanting to enliven these quiet valleys. Here and there
knobs of volcanic material rise along the crests of the ridges into
prominent hills, which are conspicuous landmarks all over the Border
country. Since Thomson's day the plough has no doubt crept further up
the hill sides; more wood has been planted and more ground has been
enclosed. But there is still plenty of bare moor and peat-moss, and
the pastoral character of the district yet remains. The traditions of
Border warfare have grown fainter, but the ruined peel-towers still
stand as picturesque relics of the old wild times. The climate, too,
has not changed. The winter storms still send down the rivers in full
flood, and bury the vales in deep snow; the spring whitens the meadows
and hedgerows with flower and blossom, and the short summer gives way
to an early autumn.
Such was the scenery that inspired the 'sweet poet of the year,'
as Burns called him. Thomson came to London in 1725, when he was
twenty-five years of age, and the following year he published his
Winter. The poem, though written at Barnet, took its inspiration
from the Border. The verse was turgid, full of latinisms, and sadly
lacking in the simplicity and directness which the subject required.
Nevertheless these defects could not conceal the genuine poetic
gift of the writer, and the poem immediately became popular, for
notwithstanding its artificial style, it took the reader at once into
the sanctuaries of nature, from which the poetry of the previous
hundred years had been exiled. It awakened a general interest in
features of landscape never before described so fully or so well in
English verse. It painted changes of the sky—tempest, rain-clouds and
snow-storms, and it brought the gloom of a northern winter vividly
before the imagination of dwellers in a more southerly clime.
Thomson told the world how in his youth,
'Nursed by careless solitude he lived
And sang of nature with unceasing joy,'
[28]
and how, with 'nature's volume broad displayed,' it was his sole
delight to read therein, happy if it might be his good fortune,
'Catching inspiration thence
Some easy passage, raptured, to translate.'
[29]
He had been used in his early years to muse
'On rocks and hills and towers and wandering streams,'
[30]
and these now became the subjects of his song. Thomson, like his
greater successor Burns, had from earliest boyhood been familiar with
the burns and waters of his northern home. When he came to England
he found but little entertainment in the landscapes around London,
and longed for 'the living stream, the airy mountain, and the hanging
rock.' He portrays with evident delight the changeful aspect of his
native watercourses in the various seasons of the year. He knew well
the 'deep morass' and 'shaking wilderness,' where many of them 'rise
high among the hills,' and whence they assumed their 'mossy-tinctured'
hue. He traces them as they 'roll o'er their rocky channel' until they
at last lose themselves in 'the ample river' Tweed.[31] He describes
them as they appear at sheep-washing time, and dwells on their delights
for boys as bathing-places. But it is their wilder moods that live most
vividly in his memory, when
'From the hills
O'er rocks and woods, in broad brown cataracts,
A thousand snow-fed torrents shoot at once.'
[32]
It is worthy of remark, however, that even though nature is his theme,
the poet writes rather as an interested spectator than as an earnest
votary. He reveals no passion for the landscapes he depicts. He never
appears as if himself a portion of the scene, alive with sympathy
in all the varying moods of nature. His verse has no flashes of
inspiration, such as contact with storm and spate drew from Burns. It
was already, however, a great achievement that Thomson broke through
the conventionalities of the time, and led his countrymen once more to
the green fields, the moors, and the woodlands.
In the successive poems which when placed together made the Seasons,
published in 1730, Thomson continued to draw on his recollections
of the Scottish Border for the descriptions of landscape that form
so fundamental a part of his theme. It is interesting to note that
even after he had been five years in the south of England, and must
have seen in that time much variety of weather and many different
watercourses, it is still from the north that he draws his sketches.
When, for instance, he tells how in autumn,
'Red from the hills, innumerable streams
the colour of his torrents betrays their Scottish origin. He was
thinking of the spates in his native streams which sweep across tracts
of Old Red Sandstone, and come down almost brick-red in hue. There
are no red rocks, and therefore no red brooks in Middlesex and the
surrounding districts.
But before the completion of the Seasons the influence of English
lowland scenery had begun to impress itself on Thomson's imagination.
The softer and ampler landscape of fruitful plains, with its richer
agriculture and fuller population, its farms, villages, and country
houses, filled his mind with a new pleasure. Some trace of this
widened experience may be seen in the additions successively made to
the earlier poems, such as the picture of Hagley Park introduced into
the poem on Spring. But it was in his last effusion, The Castle of
Indolence, that this English influence gained entire sway, and the
Scottish memories faded into the background. Here we find ourselves
amid the typical landscapes of the south of England—landscapes,
however, so transfused by poetic genius as to acquire an individuality
of their own. We are led into 'a lowly dale fast by a river's side';
we wander through 'sleep-soothing groves and quiet lawns between';
we see 'glittering streamlets' in a sunny glade'; we skirt a 'sable,
silent, solemn forest'; and pass a 'wood of blackening pines,' which
runs up the hills on either side, and see the famous castle 'close
hid amid embowering trees,' that make a kind of chequered day and
night. The landscape, we are told, 'inspires perfect ease'—a quality
which must now have become indispensable to the 'bard, more fat than
bard beseems.' Thomson, with his adoption of English scenery, had
also polished his style and rid himself of much of his turgidity and
latinism. He had changed his theme, too, and had chosen one more in
consonance with the prevailing vogue. But to the end he had an eye for
the charms of the free open face of nature. For the share he took in
bringing back into our literature the recognition of these charms, he
will ever hold an honourable place in the history of letters.
It was from another and somewhat dissimilar part of the Scottish
lowlands that a far more powerful impulse than that of Thomson was
given by the genius of Burns to the progress of the literary revolution
of the eighteenth century. The landscapes of Ayrshire, where Burns was
born and spent most of his life, though akin in their main aspects
to those of Roxburghshire, present nevertheless certain well-marked
differences in topography which were not without their influence on the
muse that inspired Tam o' Shanter and Halloween.
The lowlands familiar to Burns throughout most of his life form a wide
and undulating plain, surrounded on three sides by ranges of upland,
and on the fourth by the open Firth of Clyde. The heights along the
southern side belong to the long and broad chain of uplands which
stretches from Portpatrick to Saint Abb's Head. Rising sometimes to
more than 2,500 feet above the sea, they stretch as a wide pastoral
country, much of which is still covered with 'muirs and mosses many.'
These high grounds catch the clouds and mists from the Atlantic, and
receive such a copious rainfall as to feed many large streams which
cross the lowlands to the sea. The number and size of these streams
form a notable feature in the scenery, and the different geological
formations through which they flow have contributed to give much
variety to their channels. Here they may be seen flowing in a narrow
glen, there opening into a wider strath, or creeping sullenly in a
narrow chasm between precipitous walls of naked stone, or dashing
merrily over rock and boulder beneath overarching trees, or sweeping in
wide curves through open meadows or dense woods, and finally carrying
their burden of mossy water into the blue firth.
These streams, with their endless changes of aspect, their variations
from season to season, their play of sunshine and shadow, their wild
flowers and their birds, had a strong hold on the affections of Robert
Burns. His best inspiration came to him from them. As he tells us
himself:
'The Muse, na Poet ever fand her,
Till by himsel he learn'd to wander
Adown some trottin' burn's meander,
An' no think lang;
O sweet to stray, an' pensive ponder
In the poem from which these lines are quoted, after alluding to the
poetic fame of other streams, while those of his own county remained
unsung, the poet declares his resolve to atone for this neglect:
'We'll gar our streams and burnies shine
Up wi' the best.
We'll sing auld Coila's plains an' fells,
Her moors red-brown wi' heather-bells,
Her banks an' braes, her dens an' dells.'
Amply did he fulfil his promise. There is not a river, hardly even
a tributary, within his reach, that has not been made famous in his
lyrics. In the first bloom of opening manhood it was the Ayr and the
Doon that gave him inspiration, and when broken in health and spirits,
and with an early grave opening before him, it was by the banks of the
Nith that his last poetic impulse arose.
In his relation to Nature there was this great difference between
Burns and his literary contemporaries and immediate predecessors,
that whereas even the best of them wrote rather as pleased spectators
of the country, with all its infinite variety of form and colour, of
life and sound, of calm and storm, he sang as one into whose very
inmost heart the power of these things had entered. For the first
time in English literature the burning ardour of a passionate soul
went out in tumultuous joy towards Nature. The hills and woods, the
streams and dells were to Burns not merely enjoyable scenes to be
visited and described. They became part of his very being. In their
changeful aspects he found the counterpart of his own variable moods;
they ministered to his joys, they soothed his sorrows. They yielded
him a companionship that never palled, a sympathy that never failed.
They kindled his poetic ardour, and became themselves the subjects of
his song. He loved them with all the overpowering intensity of his
affectionate nature, and his feelings found vent in an exuberance of
appreciation which had never before been heard in verse.
Among the natural objects which exerted this potent sway over the
poetry of Burns, the streams of Ayrshire and Nithsdale ever held a
foremost place. Their banks were his favourite haunt for reverie. They
were familiar to him under every change of sky and season, from firth
to fell. Each feature in their seaward course was noted by his quick
eye, and treasured in his loving memory. Their union of ruggedness and
verdure, of sombre woods and open haughs, of dark cliff and bright
meadow, of brawling current and stealthy flow, furnished that variety
which captivated his fancy, and found such fitting transposition
to his verse. His descriptions and allusions, however, are never
laboured and prominent; they are dashed off with the careless ease of
a master-artist, whose main theme is the portrayal of human feeling.
Even when the banks and braes have been the immediate source of his
inspiration, Burns quickly passes from them into the world of emotion
to which he makes them subservient.
So numerous and descriptive are his allusions to them that a luminous
account of the characteristics of the Carrick brooks and rivers might
easily be compiled from Burns' poems. At one moment we find him
appealing to them for sympathy in his grief:
'Ye hazelly shaws and briery dens,
Ye burnies, wimplin' down your glens
Wi' toddlin' din,
Or foaming, strang, wi' hasty stens,
The same appeal forms the burden of his song on the Banks and braes o'
bonnie Doon. He leads us where
'In gowany glens the burnie strays,
Or trots by hazelly shaws and braes,
He pictures the stream after a rain-storm, when
'Tumbling brown, the burn comes down
And roars frae bank to brae;'
[37]
or when the breath of the Atlantic has swept over the wintry hills and
the
'Burns wi' snawy wreeths up-choked
Wild-eddying swirl,
Or through the mining outlet bocked
But nowhere does his delight in these features of his native landscape
find more exuberant expression than in his Halloween, when he
interrupts his narrative of Leezie's misadventure to give a graphic
picture of one of his brooks in the calm moonlight of an autumn evening.
'Whyles owre a linn the burnie plays,
As thro' the glen it wimpl't;
Whyles round a rocky scaur it strays
Whyles in a wiel it dimpl't;
'Whyles glitter'd to the nightly rays,
Wi' bickerin', dancin' dazzle;
Whyles cookit underneath the braes,
Below the spreading hazel
Unseen that night.'
Born near the river Ayr, and having spent his boyhood and youth in
its valley, Burns had ever a special affection for that stream, along
whose banks he had composed some of his finest poems. When his enforced
emigration to America was settled, and his trunk on its way to the
ship, he wrote a parting song in the burden of which the banks of Ayr
are made to stand for his native country as a whole:
'The bursting tears my heart declare,
Farewell, the bonnie banks of Ayr.'
[39]
When the respite came, and he found himself famous and in Edinburgh,
the Address which he wrote to the Scottish capital contrasted his
reception there with what had gone before, and again his heart was by
his beloved river:
'From marking wildly-scattered flowers,
As on the banks of Ayr I stray'd,
And singing, lone, the ling'ring hours,
I shelter in thy honour'd shade.'
And lastly, when the shadows were beginning to gather around him at
Ellisland, his thoughts would go back to the same scene. In one of his
latest and most pathetic songs we find once more a reminiscence of his
associations with the river of his youth:
'Ayr gurgling kiss'd his pebbled shore
O'erhung with wild woods, thick'ning green;
The fragrant birch, and hawthorn hoar,
Twin'd am'rous round the raptur'd scene.
The flowers sprang wanton to be prest,
The birds sang love on every spray,
Till too, too soon, the glowing west,
Proclaim'd the speed of winged day.'
[40]
When Burns moved from Ayrshire to Nithsdale, he found at his new
home another valley and another river that could minister to his
inspiration. The Nith took the place of the Ayr. But it could not
wholly fill that place, for its landscape is less ample, the hills
come closer down upon the valley, while the river, in its lower
course, curves from side to side in a wide alluvial plain, without the
variety that marks the lower part of the Ayr. We seem to recognise the
influence of these differences in the allusions in the songs.
The landscapes of Burns are marked by some curious limitations. Though
he was born within sight of the picturesque mountain group of Arran, it
does not come within his poetic outlook.[41] Though the 'craggy ocean
pyramid' of the Clyde rose so stupendously from the firth in front of
him, he makes no use of it further than to tell how 'Meg was deaf as
Ailsa Craig.' Its distant grandeur does not seem to have struck his
imagination. Indeed, if we examine his treatment of scenery, we may
observe that it is the nearer detail that appeals to him. His pictures
are exquisite foregrounds with seldom any distinct distance. But
perhaps more remarkable still is the small place which the sea takes in
the poetry of Burns. We must bear in mind that he was born and spent
his boyhood within sight and hearing of the open Firth of Clyde. The
dash of the breakers along the sandy beach behind his father's 'clay
biggin' must have been one of the most familiar sounds to his young
ears. Yet the allusions to the sea in his poems betray little trace of
this association. They are in large measure introduced to mark the wide
distance between separated friends.
It must be remembered, however, that his life, after he began to
write, was passed inland, where the wide firth could only be seen from
the rising ground at a distance of several miles. Yet Burns has left
testimony that his imagination had not been insensible to the life and
movement of the ocean. One of the most effective touches in his picture
of the night scene in the Brigs of Ayr is given in the reference to
the neighbouring sea—
'The tide-swollen Firth, wi' sullen-sounding roar,
Through the still night dashed hoarse along the shore';
and when his native Muse gives him her benediction she tells how she
had watched his passionate love of Nature:
'I saw thee seek the sounding shore,
Delighted with the dashing roar;
Or when the North his fleecy store
Drove thro' the sky;
I saw grim Nature's visage hoar
Strike thy young eye.'
[42]
II. The Uplands of the British Isles consist of undulating
plains or plateaux which lie from 1000 to more than 2000 feet above
the sea. Seen from a distance, they look like ranges of hill or
mountain, but without that variety of peak and crest which a true
mountain outline would present. Though they may rise steeply out of the
lower grounds, we have only to climb to their summit to find ourselves
at the edge of a wide rolling platform, which may stretch for leagues
without ever rising into any sharp prominence, or departing from the
same monotony of moorland. Yet if we attempt to cross this seemingly
continuous tableland, we find our progress barred by many valleys
which, deep sunk beneath the general level, divide the plateau into
separate blocks or ridges.
The surface of these uplands is for the most part treeless and even
bushless. Where not covered with peat-moss, it is clothed with bent
or with heather, kept short and green by periodical burning in the
springtime. Herds of cattle and flocks of sheep wander over the
pastures, but, save the stone fences, there is little other visible
trace of human occupation. It is in the little hollows that lead down
into the main valleys, and in these valleys themselves, that trees
make their appearance, first in scattered saplings of birch, alder
or mountain-ash, and then in thicker copsewoods or in artificial
plantations of fir and larch. In these sheltered depressions, the farms
and villages of the region have been planted, and cultivation has
been slowly pushed upward on the slopes of the fells. Thus the larger
part of the area of the uplands is uninhabited, the population being
restricted to the more or less sheltered 'hopes,' hollows, dales, and
valleys.
This type of scenery presents many local varieties, according to the
geological structure of the ground. Where the rocks have been but
little disturbed, the sides of the valleys display a succession of
parallel bars of stone with intervening grassy slopes, such as may be
seen among the moors of the East Riding, or in the dales of the Pennine
Chain. Where, on the other hand, the rocks have been much compressed
and pushed over each other by powerful movements of the terrestrial
crust, their erosion has given rise to no regular topography, but they
decay into rounded forms covered with heath and herbage, or breaking
here and there into rocky scarps, as in Wales and southern Scotland.
Of the British uplands, the only district that claims notice here in
connection with our literature is that of the wide Border country
of England and Scotland. It stretches through the moorlands of
Northumberland and Cumberland into the range of the Cheviots on the
one hand, and on the other into the great tract of high ground, which
extends through the Lammermuir and other groups of fells from the
North Sea to the Solway Firth. For many centuries this region has been
pre-eminently pastoral. The natural forest, which in old times clothed
much of its surface, has almost wholly disappeared before modern
agriculture, and the plough has in successive generations crept higher
up the slopes from the meadows of the dales. But there can be little
doubt that though roads and railways have done much to open up these
solitudes, the natural features remain essentially unchanged.
It was among these uplands that the Border ballads had their birth. We
may therefore pause for a few moments to inquire what trace may still
be discernible of the influence of the landscape upon the tales of war
and love, of feud and raid and rescue, which have made that Border-land
famous in our literature.
At the outset it is desirable to realise the all-important character of
the valleys in the human history of the uplands. From time immemorial,
these strips of more sheltered and cultivable ground, lying much below
the general level of the moorlands, have been to a large extent cut
off from each other by high tracts of fell and peat-moss. Each of them
took its name from the stream which, rising far up among the moors, and
gathering tributary rivulets from glens on either side, winds down the
strip of haugh along the valley-bottom. For generations past the people
have looked on their native stream with an affectionate regard.[43] It
has been the bond of union that has linked the natives of each dale in
one family or brotherhood. The valley itself may vary its scenery as
it passes across different parts of the upland, here narrowing into
a glen, there widening into a strath; its slopes may change their
aspect, now clothed in bent or purple heather, now waving with bracken
or birken copsewood, now striped with fields of tillage, but the clear
river that dashes merrily onward through these diversities of scene
unites them all into one continuous dale.
The isolation imposed on the separate communities by this topography
of the ground inured them to habits of self-dependence. It gave them
a coherence that served them in good stead for attack or defence in
the old days of Border forays. Each stream not only gave its name to
the whole valley which it traversed, but to the human population that
dwelt by its banks. It was called a 'Water,' such as Leader Water,
Allan Water, Jed Water, and many more, and this word 'water' came to
be synonymous with the able-bodied inhabitants of the dale. When, for
instance, old Buccleuch gave his orders for the ride to rescue Jamie
Telfer's cattle, carried off by English thieves, he bade his men
'Gar warn the water, braid and wide,
Gar warn it sune and hastilie.'
The marauding propensities of one of these communities would sometimes
be condensed into the name of their valley, as where Dick o' the Cow
complains that
'Liddesdale's been i' my house last night,
And they hae taen my three kye frae me.'
The ballads are so full of human incident as to leave little room even
for a background of landscape, but some of the features of the scenery
are here and there graphically indicated by a line or even a word. 'The
bent sae brown' of the higher ground gives place to 'heathery hill and
birken shaw,' with here and there a 'bush of broom' or 'buss o' ling'
where the dun deer couches in the glade. We are led to where
'The hills are high on ilka side
An' the bought i' the lirk o' the hill.'
We are made to see that the 'morning sun is on the dew,' to feel 'the
cauler breeze frae off the fells,' and to note here and there 'the
gryming of a new-fa'n snaw.' When the king led his army through Caddon
ford, in pursuit of the outlaw Murray, and came in sight of Ettrick
forest, the ballad tells how
'They saw the darke Forest them before,
They thought it awsome for to see.'
But perhaps the natural feature most frequently alluded to in the tales
of foray is the flooding of the rivers. In those days bridges were
few throughout the Border, and thus a heavy downfall of rain might
completely sever all communication between the two sides of a dale. To
plunge into these swollen torrents was sometimes the only escape from
pursuit, and required fully as much courage and nerve as to stay and
face the approaching foe. In the famous ride to Carlisle for the rescue
of Kinmont Willie, the party found when they came to the Eden that
'The water was great and meikle of spate.'
But they dashed into it, losing neither man nor horse, but encountering
still worse weather on the English side—
'The wind began fu' loud to blaw;
But 'twas wind and weet and fire and sleet
When they came beneath the castle wa'.'
On their return with their rescued comrade to the river, they saw that
it 'flowed frae bank to brim,' but nothing daunted, they plunged into
the flood and safely swam across. Their pursuers, however, gave up the
chase at sight of the rushing torrent:
'All sore astonish'd stood Lord Scroope
He stood as still as rock of stane;
He scarcely dared to trew his eyes,
When through the water they had gane.
"He is either himsell a devil frae hell,
Or else his mother a witch maun be;
I wadna hae ridden that wan water
For a' the gowd in Christentie."'
But even in the midst of the rough warfare of these olden days, there
was often a thread of tender affection and romance woven by the
ballad-singers into their tales. The vale of the river Yarrow has been
more specially consecrated by these tragic songs, and the 'dowie howms
o' Yarrow' have come to be identified with all that is most pathetic
in the minstrelsy of the Border. From the time of the early ballads
a succession of minor poets had sung of this vale, until the pathos
of its history was fully revealed to the whole world by Scott and
Wordsworth.
It may be readily granted that the fascination of Yarrow has mainly
sprung from the recollection of the human incidents which have been
transacted there, and which have been enshrined in so much touching
verse. But these tragic associations will not, I think, of themselves
wholly account for this fascination, nor for the sad tone of the
poetry. There seems to me to be a source of peculiarly impressive power
in the scenery of the valley itself, and that to this source not a
little of the glamour of Yarrow is to be attributed. Nowhere throughout
the whole range of the uplands are their characteristic aspects more
perfectly displayed. Down the centre of the dale runs the strip of
level green haugh, through which the stream meanders from side to side
across banks of shingle, with a murmuring cadence that is borne down on
the wind like a low plaintive wail. On either hand, the smooth green
slopes rise into the rounded summits of the fells, mottled here with
sheets of bracken and there with folds of heather. The declivities are
indented by little side-valleys, each leading a clear rivulet between
grassy banks to the main stream. Nowhere do any rugged features mar
the gentle undulations of the ground. The outer world seems to lie far
beyond the high hills that enclose and shelter the quiet valley. There
is a deep silence over the scene, broken now and then by the melancholy
scream of the curlew or the mournful note of the plover. The mind,
amid such surroundings, easily glides from the present into reverie
amidst the past. The ruined peel seems to whisper tales of 'old unhappy
far-off things and battles long ago.' The greener grass around some
mouldering stones points to hamlets long since forsaken and forgotten.
The scattered birks and alders recall the 'fair forest' that once
clothed the valley with 'many a seemly tree,' and when in these tracts,
now sacred only to sheep, there were
'Hart and hynd, and dae and rae,
And of a' wild beasts great plentie.'
There is a natural expectation in the mind that scenery which has made
for itself so notable a place in the history of English poetry should
present, when first seen, some special charm of attractive beauty. And
doubtless many have shared the disappointment so well expressed by
Wordsworth and by Washington Irving, who nevertheless had the advantage
of being shown over the Border country by its great minstrel himself.
But with the instinct of a true poet, Wordsworth soon recovered from
his first surprise, and divined the inner spirit of the landscape.
Nowhere has that spirit been more felicitously expressed than in his
second poem on Yarrow. Contrasting his first anticipation with what he
found to be the reality, he addressed the vale:
'Thou, that didst appear so fair
To fond imagination,
Dost rival in the light of day
Her delicate creation:
Meek loveliness is round thee spread,
A softness still and holy;
The grace of forest charms decayed
And pastoral melancholy.'
On the influence of the upland scenery of southern Scotland upon the
genius of Scott I must not enter. He spent his boyhood within sight of
these hills, he made them his chief home throughout life, and when,
shattered in health and fortunes, he returned from Italy, it was among
these hills, and in hearing of the murmur of the Tweed, that he wished
to die. No one can read the 'Lay of the Last Minstrel,' or 'Marmion,'
without coming under the spell of the Border scenery. Among the
descriptive sketches of landscape in the Waverley Novels, none are more
lovingly and graphically painted than those where Scott drew from the
vivid recollections of his journeys among the dales and moors of the
Southern Uplands.
III. For the purposes of our present inquiry, I would class together
as Highlands all the higher, more rugged, and mountainous
ground, which differs on the whole from the uplands, not only in
its greater elevation, but in the more irregular rocky forms of its
surface, the narrower crests of its ridges, and the more peaked shapes
of its summits. The geological structure of these tracts of country is
generally so complicated that it gives rise to much greater variety of
outline than is to be found in either of the other types of scenery.
Each kind of rock yields to the weather in its own characteristic way,
and as the rainfall is heavier and the slopes are steeper there than
elsewhere, the influence of the weather upon the topography is more
especially prominent.
In the northern parts of Wales where a group of ancient volcanic rocks
has been laid bare by the stupendous denudation of the surface, a
small tract of truly highland scenery has been carved out in Cader
Idris, Arenig, Snowdon, and the surrounding heights in Caernarvonshire
and Merionethshire. Another isolated area of volcanic hills forms
the picturesque district of the Lakes. But it is in Scotland that
this type is displayed on the largest scale and in the most varied
diversity. The Scottish Highlands are built up of the most ancient
rocks of the British Islands, and possess a geological structure of
extraordinary complexity. They include a vast variety of materials
which, rising to the highest elevations in the country, and exposed to
the severest climate, have impressed their individual characters upon
the landscapes. Thus, in the north-west, where the simplest grouping
of rocks is to be seen, masses of horizontal dark-red sandstone have
been carved into the huge pyramids that form so singular a feature
in the scenery of Ross and Sutherland (p. 71). In the central and
south-western counties, gleaming white cones show where the quartzites
rise to the surface. In the eastern Grampians, high craggy moors,
encircled with stupendous corries and precipices, mark the sites of
the bosses of granite. Among the Western Isles, dark splintered crests
and pinnacles point out the position of the gabbros. Perhaps the most
rugged ground is to be seen among the mica-schists, which combine a
wonderful array of pointed peak and notched ridge, with tumultuous
masses of craggy declivity.
In the eastern Grampians, the mountains include broad tracts of
undulating moorland, which, though lying along the summits of the
chain, are level enough to be capable of conversion into racecourses.
These hills are separated from the sea by a tract of lowland, and lie
thus entirely inland. On the west side of the Highlands, however,
the ground between the straths and glens mounts upward into narrow
ridges, not infrequently sharpened into knife-edged crests, while the
whole aspect of the landscape is rugged, rocky, and bare. Land and sea
appear there to be inextricably intermingled. Islands, peninsulas, and
promontories are penetrated or surrounded by sounds and sea-lochs, in
such a curious way that even in what might be thought to be the very
heart of the country, the tides of the Atlantic are found to ebb and
flow into remote and solitary glens. The mountains plunge abruptly into
the salt water, and for the most part only along the valley-bottoms are
little strips of level land to be seen.
As a consequence of this intricate interlacing of land and sea, the
warm, damp breezes from the Atlantic furnish abundance of mist, cloud,
and rain to the western Highlands. Thus to the wildness of rugged
mountains and stormy firths, there is added a marvellous range of
atmospheric effect. Nowhere in Britain can such an union be beheld of
picturesque mountain-form and of clear and vivid colour. Nowhere is the
grandeur of a winter storm more impressive than when a south-westerly
gale drives the breakers against the headlands, howls up the glens, and
fills every gully with a foaming torrent.
The scenery of the western Highlands of Scotland was first brought
prominently before the world by the publication in the year 1760 of
what purported to be Fragments of Ancient Poetry, collected in the
Highlands. The success of this volume encouraged the translator, James
Macpherson, to prepare a much larger collection which he combined
into an epic poem and published in 1762, under the name of Fingall.
A second epic, Temora, appeared during the following year. Keen
discussion arose as to the authenticity of these poems. They were by
one group of writers upheld as a priceless contribution to literature,
recovered by the skill and labour of one man from the lips of the
peasantry, and from faded manuscripts that handed down the traditions
of a long vanished past. By another class of disputants they were
branded as impudent forgeries palmed off upon the credulity of the
world by Macpherson himself.
Into this unhappy and still unsettled controversy I have no intention
of entering. For my present purpose it is not necessary to decide
whether the so-called poems of Ossian were genuine ancient Celtic
productions or were entirely fabricated after the middle of last
century, though I think we may safely steer a middle course between the
extreme views that have been put forward on either side. Few persons
now believe that Macpherson's Epics ever existed as such among the
Highlanders. But, on the other hand, it is generally admitted that he
really did find a number of Ossianic fragments and that he strung these
together no doubt with copious connecting material of his own. How
much was genuine and old, and how much spurious and modern, has never
yet been satisfactorily determined. But in estimating the influence
of Macpherson's Ossian on literature, we have no need to consider
the age of the poems. None of these were known to the world at large
until 1760, and we have therefore only to concern ourselves with their
history from that year onwards.
Those who have engaged in the controversy have almost wholly entered
it from the literary or antiquarian side. I prefer to approach it from
the side of the scenery and topography of the West Highlands, and
to inquire how far the Ossianic landscape was a true representation
of nature, whether there was anything in it new to our literature,
and whether it exerted any lasting effect on the attitude of society
towards the type of scenery which it depicted.
Macpherson had previously published some English verse of little merit
and which attracted no notice. But the appearance of his Ossianic
translations at once made him famous. The Poems of Ossian not only
became popular in this country, but were translated into the more
important languages of the Continent.
In studying the landscape of Macpherson's Ossian we soon learn that
it belongs unmistakably to Western Argyleshire. Its union of mountain,
glen, and sea removes it at once from the interior to the coast. Even
if it had been more or less inaccurately drawn, its prominence and
consistency all through the poems would have been remarkable in the
productions of a lad of four-and-twenty, who had spent his youth in the
inland region of Badenoch, where the scenery is of another kind. But
when we discover that the endless allusions to topographical features
are faithful delineations, which give the very spirit and essence
of the scenery, we feel sure that whether they were written in the
eighteenth century or in the third, they display a poetic genius of no
mean order.
The grandeur and gloom of the Highland mountains, the spectral mists
that sweep round the crags, the roar of the torrents, the gleam of
sunlight on moor and lake, the wail of the breeze among the cairns
of the dead, the unspeakable sadness that seems to brood over the
landscape whether the sky be clear or clouded—these features of West
Highland scenery were first revealed by Macpherson to the modern
world. This revelation quickened the change of feeling, already begun,
in regard to the prevailing horror of mountain scenery. It brought
before men's eyes some of the fascination of the mountain-world, more
especially in regard to the atmospheric effects that play so large
a part in its landscape. It showed the titanic forces of storm and
tempest in full activity. And yet there ran through all the poems a
vein of infinite melancholy. The pathos of life manifested itself
everywhere, now in the tenderness of unavailing devotion, now in the
courage of hopeless despair.
Ossian fascinated some of the greatest men of the time. These Celtic
poems, in the words of Matthew Arnold, passed 'like a flood of lava
through Europe.' In the deliberate judgement of this acute critic,
they revealed 'the very soul of the Celtic genius, and have the proud
distinction of having brought this soul of the Celtic genius into
contact with the genius of the nations of modern Europe, and enriched
all our poetry by it.'[44] There can at least be no doubt that they
gave a new and powerful impulse to the appreciation of the wilder
aspects of nature, and did much to prepare the way for that love of
mountain-scenery which has been one of the characteristic developments
of the nineteenth century. It is not that in Ossian Highland landscape
was deliberately described, but it formed a continually visible and
changing background. The prevalent character of the whole range of
scenery in the region, and the general impression made by it on the
eye and mind, were so vividly conveyed that no one familiar with the
country can fail to recognise how faithfully the innermost soul of the
West Highlands is rendered.
Never before or since have the endless changes of sky and atmosphere
been more powerfully portrayed. In the tempestuous climate of the west
of Scotland these changes succeed each other with a rapidity and energy
such as the dweller on the southern lowlands can hardly realise. They
are faithfully, if somewhat monotonously, reflected in Ossian. All
through the poems the air seems ever astir around us. Sometimes it is
only a gently-breathing zephyr which
'Chases round and round
The hoary beard of thistle old,
Dark-moving over grassy mounds.'
[45]
We mark the graves of dead heroes by
'Their long grass waving in the wind,'
and we move onwards 'in the robe of the misty glen' past
'Branches and brown tufts of grass
Which tremble and whistle in the breeze.'
But when the full Atlantic gale sweeps over the land, and the
rain-clouds rush in swift procession across the half-hidden hills, the
moaning and shrieking of the storm come like sounds from another world.
We seem to hear the tread, and almost to see the forms, of the ghosts
of the Ossianic heroes,
'Chasing spectre-boars of mist
On wings of great winds on the cairn.
When bursts the cloud in Cona of the glens,
A thousand spirits wildly shriek
On the waste wind that sweeps around the cairn.'
Nor is the turmoil of the tempest on the sea less vividly depicted. We
are shown the
'Waves surging onward in mist,
When their crests are seen in foam
Over smoke and haze widespread.'
In the midst of the gloom we descry a shore-stack against which the
ocean
'Dashes the force of billows cold;
White spray is high around its throat,
And cairns resound on the heathery steep.'
With these pictures of tumult on land and sea, there come glimpses of
those cherished interludes of bright sunshine, when the western hills
and firths are seen at their loveliest. But whether radiant or gloomy
the landscape is in unison with the human emotion described—
'Pleasing the tale of the time which has gone;
Soothing as noiseless dew of morning mild,
On the brake and knoll of roes,
When slowly rises the sun
On the silent flank of hoary Bens—
The loch, unruffled, far away,
Calm and blue on the floor of the glens.'
[46]
As a final sample of the Ossianic landscape, with its kaleidoscopic play
of atmospheric effect, answering to the changes of human feeling, let
me cite some lines from Fingal:—
'Morna, most lovely among women,
Why by thyself in the circle of stones,
In hollow of the rock on the hill alone?
Rivers are sounding around thee;
The aged tree is moaning in the wind;
Turmoil is on yonder loch;
Clouds darken round the tops of Cairns [mountains];
Thyself art like snow on the hill—
Thy waving hair like mist of Cromla,
Curling upward on the Ben,
'Neath gleaming of the sun from the west;
Thy soft bosom like the white rock
On bank of Brano of white streams.'
[47]
Though Macpherson roused the interest of the world in the rugged
scenery and boisterous climates of the west, it was some time before
any other writer followed his lead among the highlands of this country.
It is singular to reflect that though the mountain-world, more than
any other part of the land, appeals to the imagination, by revealing
all that is most impressive in form and colour, and all that is most
vigorous in the elemental warfare of nature, it was the last part of
the terrestrial surface to meet with due appreciation. Little more than
a century has passed since men began to visit the Scottish Highlands
for the pleasure of admiring their scenery. Previous to the suppression
of the Jacobite rising, that mountainous region was regarded as the
abode of a half-savage race, into whose wilds few lowlanders would
venture without the most urgent reasons. Even after military roads
had been made across it, the accommodation for travellers was still
generally of the most wretched kind. Those who had occasion to traverse
it gave such an account of their experiences as one would hardly now
expect to receive from the heart of Africa.[48] The poet Gray during
his visit to Scotland in the year 1765, made a brief excursion into the
Perthshire Highlands, and, in spite of the discomforts of travel at
that time, came away with a vivid impression of the grandeur and beauty
of the scenery. But the only record that remains of this impression is
to be found in a few sentences in his letters.[49]
Eight years after Gray's visit, Samuel Johnson in 1773 made his more
adventurous journey to the Hebrides. When we consider what were the
discomforts, and sometimes the actual dangers which he had to undergo,
we cannot but admire the quiet courage with which he endured them,
and the reticence with which he refers to them in his narrative. But
Johnson could see no charm in the Highland mountains. In his poem on
London he had asked many years before:
'For who would leave, unbrib'd, Hibernia's land,
Or change the rocks of Scotland for the Strand?'
Yet when at last he set foot in Scotland, he showed no disposition to
prefer its rocks to his haunts in London. Travelling through some of
the finest scenery in Western Inverness-shire, this is the language he
uses regarding it: 'The hills exhibit very little variety; being almost
wholly covered with dark heath, and even that seems to be checked in
its growth. What is not heath is nakedness, a little diversified by
now and then a stream rushing down the steep. An eye accustomed to
flowery pastures and waving harvests is astonished and repelled by this
wide extent of hopeless sterility. The appearance is that of matter
incapable of form or usefulness, dismissed by nature from her care and
disinherited of her favours, left in its original elemental state, or
quickened only by one sullen power of useless vegetation.'[50]
While such was the attitude of the man of letters in this country,
influences were at work on the Continent which powerfully affected
the relations of literature to the whole realm of outer nature, and
more especially to mountain-scenery. Rousseau's descriptions, followed
by the more detailed and scientific narrative of De Saussure, drew
the attention of society to the fascinations of Switzerland and the
Alps. But these influences had hardly had time to exert much sway in
their application to the scenery of our own country when the genius of
Scott suddenly brought the features of the Scottish Highlands into the
most popular literature of his day. In his youth the future poet and
novelist had paid some visits to the glens and lakes of Perthshire,
where he found many a primitive custom still remaining, which has
since vanished before roads, railways, and tourists. In the year 1810
his Lady of the Lake appeared. Thenceforward the stream of summer
visitors set in, which has poured in an ever-increasing flood into
the Highlands of Scotland. The general interest thus awakened in the
glens and mountains of the north was still further intensified by the
advent of the Lord of the Isles, and of Waverley, Rob Roy, and
the other novels that depict scenes in the Highlands. Certainly no man
ever did so much as Walter Scott to make the natural features of his
native country familiar to the whole world. The literary charm which
he threw over the hills and glens of Perthshire kindled a wide-spread
enthusiasm for the more rugged aspects of nature, and gave a powerful
stimulus to the slowly-growing appreciation of the beauty and grandeur
of mountain-scenery.
Nevertheless it must be admitted that Scott's highland landscapes,
though more prominent and detailed than those in his descriptions of
the lowlands and uplands, were also more laboured and less spontaneous.
His pictures are no doubt faithful and graphic, and each of them
leaves on the mind a clear impression of the scene depicted. But their
effect is produced rather by a multiplicity of touches than by a few
masterstrokes of poetic insight and graphic delineation. Moreover they
are all in one tone of colour, and lack that changeful diversity so
characteristic of mountains. They are chiefly fine-weather portraits,
as if the poet loved only summer sunshine among the hills, and had
either never seen or cared not to portray their gloom, cloud, and
storm. We are bound of course to remember that, after all, he was
only an occasional visitor to the Highlands. He had not been born
among them, and never lived long enough in their solitudes to become
intimately versed in all their alternations of mood under changes of
sky and season. He writes of them as an admiring and even enthusiastic
spectator, but not as one into whose very soul the power of the
mountains had entered. He never warms among them into that fervent glow
of affectionate appreciation which kindles within him in sight of the
landscapes of his native Border.
One other mountainous district in Britain—that of the English
Lakes—claims our attention for its influence on the progress of the
national literature. Of all the isolated tracts of higher ground in
these islands, that of the Lake District is the most eminently highland
in character. It is divisible into two entirely distinct portions
by a line drawn in a north-easterly direction from Duddon Sands to
Shap Fells. South of that line the hills are comparatively low and
featureless, though they enclose the largest of the lakes. They are
there built up of ancient sedimentary strata, like those that form so
much of the similar scenery in the uplands of Wales and the South of
Scotland. But to the north of the line, most of the rocks are of a
different nature, and have given rise to a totally distinct character
of landscape. They consist of various volcanic materials which in early
Palaeozoic time were piled up around submarine vents, and accumulated
over the sea-floor to a thickness of many thousand feet. They were
subsequently buried under the sediments that lie to the south, but, in
after ages uplifted into land, their now diversified topography has
been carved out of them by the meteoric agents of denudation. Thus pike
and fell, crag and scar, mere and dale, owe their several forms to
the varied degrees of resistance to the general waste offered by the
ancient lavas and ashes. The upheaval of the district seems to have
produced a dome-shaped elevation, culminating in a summit that lay
somewhere between Helvellyn and Grasmere. At least from that centre
the several dales diverge, like the ribs from the top of a half-opened
umbrella.
The mountainous tract of the Lakes, though it measures only some
thirty-two miles from west to east by twenty-three from north to south,
rises to heights of more than 3,000 feet, and as it springs almost
directly from the margin of the Irish Sea, it loses none of the full
effect of its elevation. Its fells present a thoroughly highland type
of scenery, and have much of the dignity of far loftier mountains.
Their sky-line often displays notched crests and rocky peaks, while
their craggy sides have been carved into dark cliff-girt recesses,
often filled with tarns, and into precipitous scars, which send long
trails of purple scree down the grassy slopes.
Moreover, a mild climate and copious rainfall have tempered this
natural asperity of surface by spreading over the lower parts of the
fells and the bottoms of the dales a greener mantle than is to be seen
among the mountains further north. Though the naked rock abundantly
shows itself, it has been so widely draped with herbage and woodland as
to combine the luxuriance of the lowlands with the near neighbourhood
of bare cliff and craggy scar.
Such was the scenery amidst which William Wordsworth was born and
spent most of his long life. Thence he drew the inspiration which did
so much to quicken the English poetry of the nineteenth century, and
which has given to his dales and hills so cherished a place in our
literature. The scenes familiar to him from infancy were loved by him
to the end with an ardent and grateful affection which he never wearied
of publishing to the world. No mountain-landscapes had ever before
been drawn so fully, so accurately, and in such felicitous language.
Every lineament of his hills and dales is depicted as luminously and
faithfully in his verse as it is reflected on the placid surface of
his beloved meres, but suffused by him with an ethereal glow of human
sympathy. He drew from his mountain-landscape everything that
'Can give an inward help, can purify
And elevate, and harmonize and soothe.'
It brought to him 'authentic tidings of invisible things'; and filled
him with
'The sense
Of majesty and beauty and repose,
A blended holiness of earth and sky.'
For his obligations to that native scenery he found continual
expression.
'Ye mountains and ye lakes,
And sounding cataracts, ye mists and winds
That dwell among the hills where I was born,
If in my youth I have been pure in heart,
If, mingling with the world, I am content
With my own modest pleasures, and have lived
With God and Nature communing, removed
From little enmities and low desires—
The gift is yours.'
Not only did his observant eye catch each variety of form, each passing
tint of colour on his hills and valleys, he felt, as no poet before
his time had done, the might and majesty of the forces by which, in
the mountain-world, we are shown how the surface of the world is
continually modified.
'To him was given
Full many a glimpse of Nature's processes
Upon the exalted hills.'
The thought of these glimpses led to one of the noblest outbursts in the
whole range of his poetry, where he gives way to the exuberance of his
delight in feeling himself, to use Byron's expression, 'a portion of
the tempest'—
'To roam at large among unpeopled glens
And mountainous retirements, only trod
By devious footsteps; regions consecrate
To oldest time; and reckless of the storm,
. . . . . while the mists
Flying, and rainy vapours, call out shapes
And phantoms from the crags and solid earth,
. . . . . and while the streams
Descending from the region of the clouds,
And starting from the hollows of the earth,
More multitudinous every moment, rend
Their way before them—what a joy to roam
An equal among mightiest energies!'
In this passage Wordsworth seems to have had what he would have called
'a foretaste, a dim earnest' of that marvellous enlargement of the
charm and interest of scenery due to the progress of modern science.
When he speaks of 'regions consecrate to oldest time,' he has a vague
feeling that somehow his glens and mountains belonged to a hoary
antiquity, such as could be claimed by none of the verdant plains
around. Had he written half a century later he would have enjoyed a
clearer perception of the vastness of that antiquity and of the long
succession of events with which it was crowded.[51]
It is curious to remember that three of the poets whom I have singled
out as illustrations of the influence of our lowland, upland, and
highland scenery upon our literature have held up the geologist to
ridicule. Cowper put that votary of science into the pillory among
the irreligious crowd, about whose ears the poet loved to 'crack the
satiric thong.'[52] Wordsworth treated the geological enthusiast with
withering scorn.[53] Scott, with characteristic good humour, only poked
fun at him.[54] It was reserved for a poet of our own day to look below
the technical jargon of the schools, and to descry something of this
wealth of new interest which the landscape derives from a knowledge of
the history of its several parts. But Tennyson only entered a little
way into this enlarged conception of nature. There remains a boundless
field for some future poetic seer, who letting his vision pierce into
the past, will set before the eyes of men the inner meaning of mountain
and glen.
And thus, while we recognise the potent influence which the scenery
of the country has exerted on the progress of our literature, we can
look forward to a fresh extension of this influence as the outcome of
geological investigation. Already the result of this widening of the
outlook has made itself felt alike in prose and verse. The terrestrial
revolutions of which each hill and dale is a witness; the contrasts
presented between the present aspect and past history of every crag
and peak; the slow, silent sculpturing that has carved out all this
marvellous array of mountain-forms—appeal vividly to the imagination,
and furnish themes that well deserve poetic treatment. That they will
be seized upon by some Wordsworth of the future, I cannot doubt. The
bond between landscape and literature will thus be drawn closer than
ever. Men will be taught that beneath and behind all the outward
beauty of our lowlands, our uplands, and our highlands there lies an
inner history which, when revealed, will give to that beauty a fuller
significance and an added charm.