Part 7

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. 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.'

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.'

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.'

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,'

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,'

--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.