A West Country Pilgrimage Part 2

THE QUARRY AND THE BRIDGE

[Ill.u.s.tration: THE QUARRY AND THE BRIDGE.]

Lastrea and athyrium, their foliage gone, cling in silky russet k.n.o.bs under the granite ledges, warm the iron-grey stone with brown and agate brightness, and promise many a beauty of unfolding frond when spring shall come again. For their jewels will be unfolding presently, to soften the cleft granite with misty green and bring the vernal time to these silent cliffs.

The quarry lies like a gash in the slope of the hills. To the dizzy edges of it creep heather and the bracken; beneath, upon its precipices, a stout rowan or two rises, and everywhere Nature has fought and laboured to hide this wound driven so deep into her mountain-side by man. A cicatrix of moss and fern and many gra.s.ses conceal the scars of pick and gunpowder; time has weathered the harsh edges of the riven stone; the depths of the quarry are covered by pools of clear water, for it is nearly a hundred years since the place yielded its stores.

One great silence is the quarry now--an amphitheatre of peace and quiet hemmed by the broken abutments of granite, and opening upon the hillside. The heather extends over wide, dun s.p.a.ces to a blue distance, where evening lies dim upon the plains beneath; round about a minor music of dripping water tinkles from the sides of the quarry; a current of air brushes the pools and for a moment frets their pale surfaces; the dead rushes murmur and then are silent; here and there, along the steps and steep places flash the white scuts of the rabbits. A pebble is dislodged by one of them, and, falling to the water beneath, sets rings of light widening out upon it and raises a little sound.

In the midst, casting its jagged shadow upon the water, springs a great, ancient crane from which long threads of iron still stretch round about to the cliffs. It stands stoutly yet and marks the meaning of all around it.

At time of twilight it is good to be here, for then one may measure the profundity of such peace and contrast this matrix of vanished granite with the scene of its present disposal; one may drink from this cup all the mystery that fills a deserted theatre of man's work and feel that loneliness which only human ruins tell; and then one may open the eye of the mind upon another vision, and suffer the ear of imagination to throb with its full-toned roar.

For hence came London Bridge; the mighty ma.s.ses of granite riven from this solitude span Thames.

Away in the heath and winding onward by many a curve may yet be traced the first railroad in the West Country. It started here, upon the frontier hills of Dartmoor, and sank mile upon mile to the valleys beneath. But of granite were wrought the lines, and over them ran ponderous wagons. Many thousand feet of stone were first cut for the railway, before those greater ma.s.ses destined for London set forth upon it to their destination.

Like the empty quarry this deserted railway now lies silent, and the place of its pa.s.sing on the hills and through the forest beneath is at peace again. From the Moor the tramway drops into the woods of Yarner, and here, between a heathery hillside and the fringes of the forest, the broken track may still be found, its semi-grooved lengths of granite scattered and clad in emerald moss, where once the great wheels were wont to grind it. The line pa.s.ses under interlacing boughs of beeches and winds this way and that, like a grey snake, through the copper brightness of the fallen leaves; it turns and twists, dropping ever, and ceases at last at the mouth of a little ca.n.a.l in the valley, where barges waited of old to carry the stone to the sea.

Here also is stagnation now, but picturesque wrecks of the ancient boats may still be seen at Teigngrace in the forgotten waterway. They lie foundered upon the ca.n.a.l with bulging sides and broken ribs. Their shapes are outlined in gra.s.ses and flowers; sallows leap silvery from the old bulwarks and alders find foothold there; briar and kingcups flourish upon their decay; moss and ferns conceal their wounds; in summer purple spires of loosestrife man their water-logged decks, and the vole swims to and from his hidden nest therein.

Here came the Hey Tor granite, after dropping twelve hundred feet from the Moor above. Leaving the great wains, it was shipped upon the Stover Ca.n.a.l and despatched down the estuary of Teign to Teignmouth, whence larger vessels bore it away to London for its final purpose.

It came to supersede that bridge of houses familiar in the old pictures, the bridge that was a street; the bridge that in its turn had taken the place of older bridges built with wood: those mediaeval structures that perished each in turn by flood or fire.

It was in 1756 that the Corporation of London obtained an order to rebuild London Bridge; but things must have moved slowly, for not until fifty years later was the announcement made of a new bridge to pa.s.s from Bankside, Southwark, to Queen Street, Cheapside. The public was invited to invest in the enterprise, and doubtless proved willing enough to do so. The ancient structure, long a danger to the navigation of the river, vanished, and in 1825, with great pomp and ceremony, the foundation-stone of the "New London Bridge" sank to its place. A recent writer in _The Academy_ has given a graphic picture of the event, and described the immense significance attached to the occasion. From the earliest dawn of that June morning, London flocked to waterside and thronged each point of vantage. Before noon the roofs of Fishmongers'

Hall, of St. Saviour's Church, and every building that offered a glimpse of the ceremony were crowded; the river was alive with craft of all descriptions; the cofferdam for the erection of the first pier served the purpose of a private enclosure, where notable folk sat in four tiers of galleries under flags and awnings.

At four o'clock, by which time the great company must have been weary of waiting, two six-pounder guns at the Old Swan Stairs announced the approach of the Civic and State authorities. The City Marshal, the Bargemasters, the Watermen, the members of the Royal Society, the Goldsmiths, the Under-Sheriffs, the Lord Mayor and the Duke of York appeared.

"His Lordship, who was in full robes," so says an eye-witness of the event, "offered the chair to his Royal Highness, which was positively declined on his part. The Mayor, therefore, seated himself; the Lady Mayoress, with her daughters in elegant dresses, sat near his Lordship, accompanied by two fine-looking, intelligent boys, her sons; near them were the two lovely daughters of Lord Suffolk, and many other fashionable ladies."

Then followed the ceremony. Coins in a cut-gla.s.s bottle were placed beneath a copper plate, and upon them descended a mighty block of Dartmoor granite. "The City sword and mace were placed upon it crossways, the foundation of the new bridge was declared to be laid, the music struck up 'G.o.d save the King,' and three times three excessive cheers broke forth from the company, the guns of the Honourable Artillery Company on the Old Swan Wharf fired a salute, and every face wore smiles of gratulation. Three cheers were afterwards given for the Duke of York, three for Old England, and three for the architect, Mr.

Rennie."

Then did a journalist with imagination dance a hornpipe upon the foundation-stone--for England would not take its pleasure sadly on that great day--and subsequently many ladies stood upon it, and "departed with the satisfaction of being enabled to relate an achievement honourable to their feelings!"

And still the n.o.ble bridge remains, though the delicate feet that rested on its foundation-stone have all tripped to the shades. The bridge remains, and its five simple spans--the central one of a hundred and fifty-two feet--make a startling contrast with the nineteen little arches and huge pedestals of the ancient structure. New London Bridge is more than a thousand feet long; its width is fifty-six feet; its height, above low water, sixty feet. The central piers are twenty-four feet thick, and the voussoirs of the central arch four feet nine inches deep at the crown and nine feet at the springing. The foundations lie twenty-nine feet, six inches beneath low water; the exterior stones are all of granite; while the interior ma.s.s of the fabric came half from Bramley Fall and half from Derbyshire.

More than seven years did London Bridge take a-building, and it was opened in 1831. The total costs were something under a million and a half of money--less than is needed for a modern battleship.

And already, before it is one hundred years old, there comes a cry that London's heart finds this great artery too small for the stream of life that flows for ever upon it. One may hope, however, that when the necessity arrives, this notable bridge will not be spoiled, but another created hard by, if needs must, to fulfil the demands of traffic.

Perhaps a second tunnel may solve the problem, since metropolitan man is turning so rapidly into a mole.

From quarry to bridge is a far cry, yet he who has seen both may dream sometimes among the dripping ferns, silent cliff-faces and unruffled pools, of the city's roar and riot and the ceaseless thunder of man's march from dawn till even; while there--in the full throb and hurtle of London town, swept this way and that amid the mult.i.tudes that traverse Thames--it is pleasant to glimpse, through the reek and storm, the cradle of this city-stained granite, lying silent at peace in the far-away West Country.

BAGTOR

[Ill.u.s.tration: BAGTOR.]

From the little southern salient of Bagtor at Dartmoor edge, there falls a slope to the "in country" beneath. Thereon Bagtor woods extend in many a shining plane--from wind-swept hill-crowns of beech and fir, to dingles and snug coombs in the valley bottom a thousand feet beneath.

On a summer day one loiters in the dappled wood, for here is welcome shade after miles of hot sunshine on the heather above. Music of water splashes pleasantly through the trees, where a streamlet falls from step to step; the last of the bluebells still linger by the way, and above them great beech-boles rise, all chequered with sun splashes. On the earth dead leaves make a russet warmth, brighter by contrast with the young green round about, and brilliant where sunlight winnows through.

There, in the direct beam, flash little flies, which hang suspended upon the light like golden beads; while through the glades, young fern is spread for pleasant resting-places. Pigeons murmur aloft unseen, and many a grey-bird and black-bird sing beside their hidden homes.

At last the woodlands make an end, old orchards spread in a clearing, and the sun, now turning west, has left the apple trees, so that their blossom hangs cool and shaded on the boughs. Behind--a background for the orchard--there rise the walls of an ancient house, weathered and worn--a ma.s.s of picturesque gables and tar-pitched roofs with red-brick chimneys ascending above them. No great dignity or style marks this dwelling. It is a thing of patches and additions. Here the sun still burns radiantly, makes the roof golden, and flashes on the snow-white "fan-tails" that strut up and down upon it.

Great Scotch firs tower to the south, and the light burns redly in their boughs against the blue sky above them. A farmhouse nestles beside the old mansion under a roof of ancient thatch, that falls low over the dawn-facing front, and makes ragged eyelashes for the little windows.

The face of the farm is nearly hidden in green things, and a colour note of mauve dominates the foliage where wistaria showers. There are climbing roses too, a j.a.panese quince, and wallflowers and columbines in the garden plot that subtends the dwelling. Mossy walls enclose the garden, and beneath them spreads the farmyard--a dust-dry place to-day wherein a litter of black piglets gambol round their mother. Poultry cluck and scratch everywhere, and a company of red calves cl.u.s.ter together in one corner. A ploughman brings in his horses. From a byre comes the purr of milk falling into a pail.

On still evenings bell music trickles up to this holt of ancient peace from a church tower three miles away; for we stand in the parish of Ilsington on the shoulder of Dartmoor, and the home of the silver "fan-tails" is Bagtor House--a spot sanctified to all book-lovers. Here, a very mighty personage first saw the light and began his pilgrimage; at Bagtor was John Ford born, the first great decadent of English letters, the tragedian whose sombre works belong to the sunset time of the s.p.a.cious days.

In April of 1586 the infant John received baptism at Ilsington church; while, sixteen years later, he was apprenticed to his profession and became a member of the Middle Temple. At eighteen John Ford, who wrote out of his own desire and under an artist's compulsion only, first tempted fortune; and over his earliest effort, _Fame's Memorial_, a veil may be drawn; while of subsequent collaborations with Webster and Decker, part perished unprinted and Mr. Warburton's cook "used up" his comedies. Probably they are no great loss, for a master with less sense of humour never lived. But _The Witch of Edmonton_ in Swinburne's judgment embodies much of Ford's best, and his greatest plays all endure.

The man who wrote _The Lover's Melancholy_, _'Tis Pity She's a Wh.o.r.e_, _The Broken Heart_ and _Love's Sacrifice_ was born in this sylvan scene and his cradle rocked to the murmur of wood doves. True he vanished early from Devonshire, and though uncertain tradition declares his return, a.s.serting that, while still in prime and vigour, he laid by his gown and pen and came back to Bagtor, to end his days where he was born, and mellow his stormy heart before he died, no proof that he did so exists. His life's history has been obliterated and contemporary records of him have yet to appear.

As an artist he must surely have loved horror for horror's sake, and, too often, our terror arouses not that pity to which tragedy should lift man's heart, but rather generates disgust before his extraordinary plots and the unattractive and inhuman characters which unravel them. One salutes the intellectual power of him, but merely shudders, without being enchained or uplifted by the nature of his themes. It has been well said of Ford that he "abhorred vice and admired virtue; but ordinary vice or modern virtue were to him as light wine to a dram drinker.... Pa.s.sion must be incestuous or adulterous; grief must be something more than martyrdom, before he could make them big enough to be seen."

There is a little of Michaelangelo about Ford--something excruciating, tortured. The tormented marble of the one is reflected in the wracked and writhing characters of the other; but whether Ford felt for the sorrow of earth as the Florentine; whether he shared that mightier man's fiery patriotism, enthusiasm of humanity and tragic griefs before the suffering of mankind, we know not. One picture we have of him from old time, and it offers a gloomy, aloof figure, little caring to win friendship, or court understanding from his fellows:--

Deep in a dump John Ford was alone got, With folded arms and melancholy hat.

So depicted the gloomy artist might serve for tragedy's self--arms crossed, brows drawn, eyes darkling under the broad-brimmed beaver, with the plotter's night-black cloak swept round his person. Or to a vision of Michaelangelo's "Il Penseroso" we may exalt the poet, and see him in that solemn and stately stone, finally at peace, his last word written and the finger of silence upon his gloomy lips.

Hazlitt finds John Ford finical and fastidious. He certainly is so, and one often wonders how this mind and pen should have welcomed such appalling subjects. He plays with edged tools and too well knows the use of poisoned weapons, says Hazlitt; and the criticism is just in the opinion of those who, with him, account it an artist's glory that he shall not tamper with foul and "unfair" subjects, or sink his genius to the kennel and gutter. That, however, is the old-world, vanished att.i.tude, for artists recognise no "unfair" subjects to-day.

Indeed, Ford can be not seldom beautiful and tender and touched to emotion of pity; but by the time of Charles, the golden galaxies were gone; their forces were spent; their inspiration had perished; England, merry no more, began to shiver in the shadow of coming puritan eclipse; and that twilight seems to have cast by antic.i.p.ation its penumbra about Ford.

There is in him little of the rollicking, superficial coa.r.s.eness of the Elizabethans; the stain is in web and woof. His great moments are few; he is mostly ferocious, or absurdly sentimental, and one confesses that the bulk of his best work, judged against the highest of ancient or modern tragedy, rings feebly with a note of too transparent artifice. He is moved by intellectual interest rather than creative inspiration; there is far more brain than heart in his writings.

Perhaps he knew it and convinced himself, while still at the noon of intelligence, that he was no creator. Perhaps he abandoned art, through failure to satisfy his own ideals. At any rate it would seem that he stopped writing at a time when most men have still much to give.

One would like at least to believe that he found in his birthplace the distinguished privacy he desired and an abode of physical and mental peace. He may, indeed, have come home again to Devon when his work was ended; he may have pa.s.sed the uncertain residue of life in seclusion with wife and family at this estate of his ancestors; his dust may lie unhonoured and unrecorded at Ilsington, as Herrick's amid the green graves not far distant at Dean Prior.

It is all guesswork, and the truth of John Ford's life, as of his death, may be forever hidden. One sees him a notable, silent, subtle man, p.r.o.ne to pessimism as a gift of heredity--a man disappointed in his achievement, soured by inner criticism and comparison with those who were greater than he.

So, weary of cities and the company of wits and poets, he came back to the country, that he might heal his disappointments and soothe his pains. His life, to the unseeing eyes around him, doubtless loomed prosperous and complete; to himself, perchance, all was dust and ashes of thwarted ambition. Again he roamed the woods where he had learned to walk; won to the love of nature; underwent the thousand new experiences and fancied discoveries of a townsman fresh in the country; and, through these channels, came to contentment and sunshine of mind, bright enough to pierce the night of his thoughts and sweeten the dark currents of his imagination. It may be so.

OKEHAMPTON CASTLE

[Ill.u.s.tration: OKEHAMPTON CASTLE.]