Wordsworth Part 2

And again (Forncett, June 1793), she writes to the same friend: "I have strolled into a neighbouring meadow, where I am enjoying the melody of birds, and the busy sounds of a fine summer's evening. But oh! How imperfect is my pleasure whilst I am alone! Why are you not seated with me? And my dear William, why is he not here also? I could almost fancy that I see you both near me. I hear _you_ point out a spot, where if we could erect a little cottage and call it our own we should be the happiest of human beings. I see my brother fired with the idea of leading his sister to such a retreat. Our parlour is in a moment furnished, our garden is adorned by magic; the roses and honeysuckles spring at our command; the wood behind the house lifts its head, and furnishes us with a winter's shelter and a summer's noonday shade. My dear friend, I trust that ere long you will be without the aid of imagination, the companion of my walks, and my dear William may be of our party.... He is now going upon a tour in the west of England, with a gentleman who was formerly a schoolfellow,--a man of fortune, who is to bear all the expenses of the journey, and only requests the favour of William's company. He is perfectly at liberty to quit this companion as soon as anything more advantageous offers. But it is enough to say that I am likely to have the happiness of introducing you to my beloved brother. You must forgive me for talking so much of him; my affection hurries me on, and makes me forget that you cannot be so much interested in the subject as I am. You do not know him; you do not know how amiable he is. Perhaps you reply, 'But I know how blinded you are.' Well, my dearest. I plead guilty at once; I _must_ be blind; he cannot be so pleasing as my fondness makes him. I am willing to allow that half the virtues with which I fancy him endowed are the creation of my love; but surely I may be excused! He was never tired of comforting his sister; he never left her in anger; he always met her with joy; he preferred her society to every other pleasure;--or rather, when we were so happy as to be within each other's reach, he had no pleasure when we were compelled to be divided. Do not then expect too much from this brother of whom I have delighted so to talk to you.

In the first place, you must be with him more than once before he will be perfectly easy in conversation. In the second place, his person is not in his favour--at least I should think not; but I soon ceased to discover this--nay, I almost thought that the opinion which I had formed was erroneous. He is, however, certainly rather plain; though otherwise has an extremely thoughtful countenance, but when he speaks it is often lighted up by a smile which I think very pleasing. But enough, he is my brother; why should I describe him? I shall be launching again into panegyric."

The brother's language to his sister is equally affectionate.

"How much do I wish," he writes in 1793, "that each emotion of pleasure or pain that visits your heart should excite a similar pleasure or a similar pain within me, by that sympathy which will almost identify us when we have stolen to our little cottage.... I will write to my uncle, and tell him that I cannot think of going anywhere before I have been with you. Whatever answer he gives me, I certainly will make a point of once more mingling my transports with yours. Alas! My dear sister, how soon must this happiness expire; yet there are moments worth ages."

And again: in the same year he writes, "Oh, my dear, dear sister!

With what transport shall I again meet you! With what rapture shall I again wear out the day in your sight!... I see you in a moment running, or rather flying, to my arms."

Wordsworth was in all things fortunate, but in nothing more fortunate than in this, that so unique a companion should have been ready to devote herself to him with an affection wholly free from egotism or jealousy, an affection that yearned only to satisfy his subtlest needs, and to transfuse all that was best in herself into his larger being. And indeed that fortunate admixture or influence, whencesoever derived, which raised the race of Wordsworth to poetic fame, was almost more dominant and conspicuous in Dorothy Wordsworth than in the poet himself. "The shooting lights of her wild eyes"

reflected to the full the strain of imaginative emotion which was mingled in the poet's nature with that spirit of steadfast and conservative virtue which has already given to the family a Master of Trinity, two Bishops, and other divines and scholars of weight and consideration. In the poet himself the conservative and ecclesiastical tendencies of his character became more and more apparent as advancing years stiffened the movements of the mind. In his sister the ardent element was less restrained; it showed itself in a most innocent direction, but it brought with it a heavy punishment. Her pa.s.sion for nature and her affection for her brother led her into mountain rambles which were beyond her strength, and her last years were spent in a condition of physical and mental decay.

But at the time of which we are now speaking there was, perhaps, no one in the world who could have been to the poet such a companion as his sister became. She had not, of course, his grasp of mind or his poetic power; but her sensitiveness to nature was quite as keen as his, and her disposition resembled his "with sunshine added to daylight."

Birds in the bower, and lambs in the green field, Could they have known her, would have loved; methought Her very presence such a sweetness breathed, That flowers, and trees, and even the silent hills, And everything she looked on, should have had An intimation how she bore herself Towards them, and to all creatures.

Her journal of a tour in Scotland, and her description of a week on Ullswater, affixed to Wordsworth's _Guide to the Lakes_,--diaries not written for publication but merely to communicate her own delight to intimate friends at a distance,--are surely indescribably attractive in their naive and tender feeling, combined with a delicacy of insight into natural beauty which was almost a new thing in the history of the world. If we compare, for instance, any of her descriptions of the Lakes with Southey's, we see the difference between mere literary skill, which can now be rivalled in many quarters, and that sympathetic intuition which comes of love alone.

Even if we compare her with Gray, whose short notice of c.u.mberland bears on every page the stamp of a true poet, we are struck by the way in which Miss Wordsworth's tenderness for all living things gives character and pathos to her landscapes, and evokes from the wildest solitude some note that thrills the heart.

She gave me eyes, she gave me ears, And humble cares, and delicate fears; A heart the fountain of sweet tears; And love, and thought, and joy.

The cottage life in her brother's company which we have seen Miss Wordsworth picturing to herself with girlish ardour, was destined to be realized no long time afterwards, thanks to the unlooked-for outcome of another friendship. If the poet's sister was his first admirer, Kaisley Calvert may fairly claim the second place. Calvert was the son of the steward of the Duke of Norfolk, who possessed large estates in c.u.mberland. He attached himself to Wordsworth, and in 1793 and 1794 the friends were much together. Calvert was then attacked by consumption, and Wordsworth, nursed him with patient care.

It was found at his death that he had left his friend a legacy of 900.

"The act," says Wordsworth, "was done entirely from a confidence on his part that I had powers and attainments--which might be of use to mankind. Upon the interest of the 900--400 being laid out in annuity--with 200 deducted from the princ.i.p.al, and 100 a legacy to my sister, and 100 more which the _Lyrical Ballads_ have brought me, my sister and I contrived to live seven years, nearly eight."

Trusting in this small capital, and with nothing to look to in the future except the uncertain prospect of the payment of Lord Lonsdale's debt to the family, Wordsworth settled with his sister at Racedown, near Crewkerne, in Dorsetshire, in the autumn of 1795, the choice of this locality being apparently determined by the offer of a cottage on easy terms. Here, in the first home which he had possessed, Wordsworth's steady devotion to poetry began. He had already, in 1792 [2], published two little poems, the _Evening Walk_: and _Descriptive Sketches_, which Miss Wordsworth, (to whom the _Evening Walk_ was addressed) criticises with candour--in a letter to the same friend (Forncett, February 1792):--

[Footnote 2: The _Memoirs_ say in 1793, but the following MS. letter of 1792 speaks of them as already published.]

"The scenes which he describes have been viewed with a poet's eye, and are portrayed with a poet's pencil; and the poems contain, many pa.s.sages exquisitely beautiful; but they also contain many faults, the chief of which are obscurity and a too frequent use of some particular expressions and uncommon words; for instance, _moveless_, which he applies in a sense, if not new, at least different from, its ordinary one. By 'moveless,' when applied to the swan, he means that sort of motion which is smooth without agitation; it is a very beautiful epithet, but ought to have been cautiously used. The word _viewless_ also is introduced far too often. I regret exceedingly that he did not submit the works to the inspection of some friend before their publication, and he also joins with me in this regret."

These poems show a careful and minute observation of nature, but their versification--still reminding us of the imitators of Pope-- has little originality or charm. They attracted the admiration of Coleridge, but had no further success.

At Racedown Wordsworth finished _Guilt and Sorrow_, a poem gloomy in tone and written mainly in his period of depression and unrest,--and wrote a tragedy called _The Borderers_, of which only a few lines show any promise of future excellence. He then wrote _The Ruined Cottage_, now incorporated in the Fist Book of the _Excursion_. This poem, on a subject thoroughly suited to his powers, was his first work of merit; and Coleridge, who visited the quiet household in June 1797, p.r.o.nounces this poem "superior, I hesitate not to aver, to anything in our language which in any way resembles it." In July 1797 the Wordsworths removed to Alfoxden, a large house in Somersetshire, near Netherstowey, where Coleridge was at that time living. Here Wordsworth added to his income by taking as pupil a young boy, the hero of the trifling poem _Anecdote for Fathers_, a son of Mr. Basil Montagu; and here he composed many of his smaller pieces. He has described the origin of the _Ancient Mariner_ and the _Lyrical Ballads_ in a well-known pa.s.sage, part of which I must here repeat:--

"In the autumn of 1797, Mr. Coleridge, my sister, and myself started from Alfoxden pretty late in the afternoon, with a view to visit Linton, and the Valley of Stones near to it; and as our united funds were very small, we agreed to defray the expense of the tour by writing a poem, to be sent to the _New Monthly Magazine_. In the course of this walk was planned the poem of the _Ancient Mariner_, founded on a dream, as Mr. Coleridge said, of his friend Mr.

Cruikshank. Much the greatest part of the story was Mr. Coleridge's invention; but certain parts I suggested; for example, some crime was to be committed which was to bring upon the Old Navigator, as Coleridge afterwards delighted to call him, the spectral persecution, as a consequence of that crime and his own wanderings. I had been reading in Shelvocke's _Voyages_, a day or two before, that, while doubling Cape Horn they frequently saw albatrosses in that lat.i.tude, the largest sort of sea-fowl, some extending their wings twelve or thirteen feet, 'Suppose,' said I, 'you represent him as having killed one of these birds on entering the South Sea, and that the tutelary spirits of these regions take upon them to avenge the crime.

The incident was thought fit for the purpose, and adopted accordingly.

I also suggested the navigation of the ship by the dead man, but do not recollect that I had anything more to do with the scheme of the poem. We began the composition together, on that to me memorable evening, I furnished two or three lines at the beginning of the poem, in particular--"

And listened like a three years' child; The Mariner had his will.

"As we endeavoured to proceed conjointly our respective manners proved so widely different, that it would have been quite presumptuous in me to do anything but separate from an undertaking upon which I could only have been a clog. The _Ancient Mariner_ grew and grew, till it became too important for our first object, which was limited to our expectation of five pounds; and we began to think of a volume, which was to consist, as Mr. Coleridge has told the world, of poems chiefly on supernatural subjects, taken from common life, but looked at, as much as might be, through an imaginative medium."

The volume of _Lyrical Ballads_, whose first beginnings have here been traced, was published in the autumn of 1798, by Mr. Cottle, at Bristol. This volume contained several poems--which have been justly blamed for triviality,--as _The Thorn, Goody Blake, The Idiot Boy_; several in which, as in _Simon Lee_, triviality is mingled with much real pathos; and some, as _Expostulation and Reply_ and _The Tables Turned_, which are of the very essence of Wordsworth's nature. It is hardly too much to say, that if these two last-named poems--to the careless eye so slight and trifling--were all that had remained from Wordsworth's hand, they would have "spoken to the comprehending" of a new individuality, as distinct and unmistakeable in its way as that which Sappho has left engraven on the world for ever in words even fewer than these. And the volume ended with a poem, which Wordsworth composed in 1798, in one day, during a tour with his sister to Tintern and Chepstow. The _Lines written above Tintern Abbey_ have become, as it were, the _locus cla.s.sicus_ or consecrated formulary of the Wordsworthian faith. They say in brief what it is the work of the poet's biographer to say in detail.

As soon as this volume was published Wordsworth and his sister sailed for Hamburg, in the hope that their imperfect acquaintance with the German language might be improved by the heroic remedy of a winter at Goslar. But at Goslar they do not seem to have made any acquaintances, and their self-improvement consisted mainly in reading German books to themselves. The four months spent at Goslar, however, were the very bloom of Wordsworth's poetic career. Through none of his poems has the peculiar loveliness of English scenery and English girlhood shone more delicately than through those which came to him as he paced the frozen gardens of that desolate city. Here it was that he wrote _Lucy Gray_, and _Ruth_, and _Nutting_, and the _Poet's Epitaph_, and other poems known now to most men as possessing in its full fragrance his especial charm. And here it was that the memory of some emotion prompted the lines on _Lucy_. Of the history of that emotion he has told us nothing; I forbear, therefore, to inquire concerning it, or even to speculate. That it was to the poet's honour I do not doubt; but who ever learned such secrets rightly? Or who should wish to learn? It is best to leave the sanctuary of all hearts inviolate, and to respect the reserve not only of the living but of the dead. Of these poems, almost alone, Wordsworth in his autobiographical notes has said nothing whatever.

One of them he suppressed for years, and printed only in a later volume. One can, indeed, well imagine that there may be poems which a man may be willing to give to the world only in the hope that their pathos will be, as it were, protected by its own intensity, and that those who are worthiest to comprehend will he least disposed to discuss them.

The autobiographical notes on his own works above alluded to were dictated by the poet to his friend Miss Isabella Fenwick, at her urgent request, in 1843, and preserve many interesting particulars as to the circ.u.mstances under which each poem was composed. They are to be found printed entire among Wordsworth's prose works, and I shall therefore cite them only occasionally. Of _Lucy Gray_, for instance, he says,--"It was founded on a circ.u.mstance told me by my sister, of a little girl who, not far from Halifax, in Yorkshire, was bewildered in a snowstorm. Her footsteps were tracked by her parents to the middle of the lock of a ca.n.a.l, and no other vestige of her, backward or forward, could be traced. The body, however, was found in the ca.n.a.l. The way in which the incident was treated, and the spiritualizing of the character, might furnish hints for contrasting the imaginative influences which I have endeavoured to throw over common life, with Crabbe's matter-of-fact style of handling subjects of the same kind."

And of the _Lines written in Germany_, 1798-9,--

"A bitter winter it was when these verses were composed by the side of my sister, in our lodgings, at a draper's house, in the romantic imperial town of Goslar, on the edge of the Hartz forest. So severe was the cold of this winter, that when we pa.s.sed out of the parlour warmed by the stove our cheeks were struck by the air as by cold iron.

I slept in a room over a pa.s.sage that was not ceiled. The people of the house used to say, rather unfeelingly, that they expected I should be frozen to death some night; but with the protection of a pelisse lined with fur, and a dog's-skin bonnet, such as was worn by the peasants, I walked daily on the ramparts or on a sort of public ground or garden, in which was a pond. Here I had no companion but a kingfisher, a beautiful creature that used to glance by me. I consequently became much attached to it. During these walks I composed _The Poet's Epitaph_."

Seldom has there been a more impressive instance of the contrast, familiar to biographers, between the apparent insignificance and the real importance of their hero in undistinguished youth. To any one considering Wordsworth as he then was,--a rough and somewhat stubborn young man, who, in nearly thirty years of life, had seemed alternately to idle without grace and to study without advantage,-- it might well have seemed incredible that he could have anything new or valuable to communicate to mankind. Where had been his experience?

Or where was the indication of that wealth of sensuous emotion which in such a nature as Keats' seems almost to dispense with experience and to give novelty by giving vividness to such pa.s.sions as are known to all? If Wordsworth were to impress mankind it must be, one might have thought, by travelling out of himself altogether--by revealing some such energy of imagination as can create a world of romance and adventure in the shyest heart. But this was not so to be.

Already Wordsworth's minor poems had dealt almost entirely with his own feelings, and with the objects actually before his eyes; and it was at Goslar that he planned, and on the day of his quitting Goslar that he began, a much longer poem, whose subject was to be still more intimately personal, being the development of his own mind. This poem, dedicated to Coleridge, and written in the form of a confidence bestowed on an intimate friend, was finished in 1805, but was not published till after the poet's death. Mrs. Wordsworth then named it _The Prelude_, indicating thus the relation which it bears to the _Excursion_--or rather, to the projected poem of the _Recluse_, of which the _Excursion_ was to form only the Second out of three Divisions. One Book of the First Division of the _Recluse_ was written, but is yet unpublished; the Third Division was never even begun, and "the materials," we are told, "of which it would have been formed have been incorporated, for the most part, in the author's other publications." Nor need this change of plan be regretted: didactic poems admit easily of mutilation; and all that can be called plot in this series of works is contained in the _Prelude_, in which we see Wordsworth arriving at those convictions which in the _Excursion_ he pauses to expound.

It would be too much to say that Wordsworth has been wholly successful in the attempt--for such the _Prelude_ virtually is--to write an epic poem on his own education. Such a poem must almost necessarily appear tedious and egoistic, and Wordsworth's manner has not tact enough to prevent these defects from being felt to the full.

On the contrary, in his constant desire frugally to extract, as it were, its full teaching from the minutest event which has befallen him, he supplements the self-complacency of the autobiographer with the conscientious exactness of the moralist, and is apt to insist on trifles such as lodge in the corners of every man's memory, as if they were unique lessons vouchsafed to himself alone.

Yet it follows from this very temper of mind that there is scarcely any autobiography which we can read with such implicit confidence as the _Prelude_. In the case of this, as of so many of Wordsworth's productions, our first dissatisfaction at the form which the poem a.s.sumes yields to a recognition of its fitness to express precisely what the poet intends. Nor are there many men who, in recounting the story of their own lives, could combine a candour so absolute with so much of dignity--who could treat their personal history so impartially as a means of conveying lessons of general truth--or who, while chronicling such small things, could remain so great. The _Prelude_ is a book of good augury for human nature. We feel in reading it as if the stock of mankind were sound. The soul seems going on from strength to strength by the mere development of her inborn power. And the scene with which the poem at once opens and concludes--the return to the Lake country as to a permanent and satisfying home--places the poet at last amid his true surroundings, and leaves us to contemplate him as completed by a harmony without him, which he of all men most needed to evoke the harmony within.

CHAPTER IV.

THE ENGLISH LAKES.

The lakes and mountains of c.u.mberland, Westmoreland, and Lancashire, are singularly fitted to supply such elements of moral sustenance as Nature's aspects can afford to man. There are, indeed, many mountain regions of greater awfulness; but prospects of ice and terror should be a rare stimulant rather than an habitual food; and the physical difficulties inseparable from immense elevations depress the inhabitant and preoccupy the traveller. There are many lakes under a more l.u.s.trous sky; but the healthy activities of life demand a scene brilliant without languor, and a beauty which can refresh and satisfy rather than lull or overpower. Without advancing any untenable claim to British pre-eminence in the matter of scenery, we may, perhaps, follow on both these points the judgment which Wordsworth has expressed in his _Guide to the Lakes_, a work which condenses the results of many years of intimate observation.

"Our tracts of wood and water," he says, "are almost diminutive in comparison (with Switzerland); therefore, as far as sublimity is dependent upon absolute bulk and height, and atmospherical influences in connexion with these, it is obvious that there can be no rivalship. But a short residence among the British mountains will furnish abundant proof, that, after a certain point of elevation, viz., that which allows of compact and fleecy clouds settling upon, or sweeping over, the summits, the sense of sublimity depends more upon form and relation of objects to each other than upon their actual magnitude; and that an elevation of 3000 feet is sufficient to call forth in a most impressive degree the creative, and magnifying, and softening powers of the atmosphere."

And again, as to climate; "The rain," he says, "here comes down heartily, and is frequently succeeded by clear bright weather, when every brook is vocal, and every torrent sonorous; brooks and torrents which are never muddy even in the heaviest floods. Days of unsettled weather, with partial showers, are very frequent; but the showers, darkening or brightening as they fly from hill to hill, are not less grateful to the eye than finely interwoven pa.s.sages of gay and sad music are touching to the ear. Vapours exhaling from the lakes and meadows after sunrise in a hot season, or in moist weather brooding upon the heights, or descending towards the valleys with inaudible motion, give a visionary character to everything around them; and are in themselves so beautiful as to dispose us to enter into the feelings of those simple nations (such as the Laplanders of this day) by whom they are taken for guardian deities of the mountains; or to sympathize with others who have fancied these delicate apparitions to be the spirits of their departed ancestors.

Akin to these are fleecy clouds resting upon the hill-tops; they are not easily managed in picture, with their accompaniments of blue sky, but how glorious are they in nature! How pregnant with imagination for the poet! And the height of the c.u.mbrian mountains is sufficient to exhibit daily and hourly instances of those mysterious attachments.

Such clouds, cleaving to their stations, or lifting up suddenly their glittering heads from behind rocky barriers, or hurrying out of sight with speed of the sharpest edge, will often tempt an inhabitant to congratulate himself on belonging to a country of mists and clouds and storms, and make him think of the blank sky of Egypt, and of the cerulean vacancy of Italy, as an unanimated and even a sad spectacle."

The consciousness of a preceding turmoil brings home to us best the sense of perfect peace; and a climate accustomed to storm-cloud and tempest can melt sometimes into "a day as still as heaven" with a benignant tranquillity which calmer regions can scarcely know. Such a day Wordsworth has described in language of such delicate truth and beauty as only a long and intimate love can inspire:

"It has been said that in human life there are moments worth ages.

In a more subdued tone of sympathy may we affirm, that in the climate of England there are, for the lover of Nature, days which are worth whole months, I might say, even years. One of these favoured days sometimes occurs in springtime, when that soft air is breathing over the blossoms and new-born verdure which inspired Buchanan with his beautiful Ode to the First of May; the air which, in the luxuriance of his fancy, he likens to that of the golden age,-- to that which gives motion to the funereal cypresses on the banks of Lethe; to the air which is to salute beatified spirits when expiatory fires shall have consumed the earth with all her habitations. But it is in autumn that days of such affecting influence most frequently intervene. The atmosphere seems refined, and the sky rendered more crystalline, as the vivifying heat of the year abates; the lights and shadows are more delicate; the colouring is richer and more finely harmonized; and, in this season of stillness, the ear being unoccupied, or only gently excited, the sense of vision becomes more susceptible of its appropriate enjoyments. A resident in a country like this which we are treating of will agree with me that the presence of a lake is indispensable to exhibit in perfection the beauty of one of these days; and he must have experienced, while looking on the unruffled waters, that the imagination by their aid is carried into recesses of feeling otherwise impenetrable. The reason of this is, that the heavens are not only brought down into the bosom of the earth, but that the earth is mainly looked at, and thought of, through the medium of a purer element. The happiest time is when the equinoctial gales are departed; but their fury may probably be called to mind by the sight of a few shattered boughs, whose leaves do not differ in colour from the faded foliage of the stately oaks from which these relics of the storm depend: all else speaks of tranquillity; not a breath of air, no restlessness of insects, and not a moving object perceptible-- except the clouds gliding in the depths of the lake, or the traveller pa.s.sing along, an inverted image, whose motion seems governed by the quiet of a time to which its archetype, the living person, is perhaps insensible; or it may happen that the figure of one of the larger birds, a raven or a heron, is crossing silently among the reflected clouds, while the voice of the real bird, from the element aloft, gently awakens in the spectator the recollection of appet.i.tes and instincts, pursuits and occupations, that deform and agitate the world, yet have no power to prevent nature from putting on an aspect capable of satisfying the most intense cravings for the tranquil, the lovely, and the perfect, to which man, the n.o.blest of her creatures, is subject."

The scene described here is one as exquisite in detail as majestic in general effect. And it is characteristic of the region to which Wordsworth's love was given that there is no corner of it without a meaning and a charm; that the open record of its immemorial past tells us at every turn that all agencies have conspired for loveliness and ruin itself has been benign. A pa.s.sage of Wordsworth's describing the character of the lake-sh.o.r.es ill.u.s.trates this fact with loving minuteness.

"Sublimity is the result of nature's first great dealings with the superficies of the Earth; but the general tendency of her subsequent operations is towards the production of beauty, by a multiplicity of symmetrical parts uniting in a consistent whole. This is everywhere exemplified along the margins of these lakes. Ma.s.ses of rock, that have been precipitated from the heights into the area of waters, lie in some places like stranded ships, or have acquired the compact structure of jutting piers, or project in little peninsulas crested with native wood.

The smallest rivulet, one whose silent influx is scarcely noticeable in a season of dry weather, so faint is the dimple made by it on the surface of the smooth lake, will be found to have been not useless in shaping, by its deposits of gravel and soil in time of flood, a curve that would not otherwise have existed.

But the more powerful brooks, encroaching upon the level of the lake, have, in course of time, given birth to ample promontories of sweeping outline, that contrast boldly with the longitudinal base of the steeps on the opposite sh.o.r.e; while their flat or gently-sloping surfaces never fail to introduce, into the midst of desolation and barrenness, the elements of fertility, even where the habitations of men may not have been raised."

With this we may contrast, as a companion picture, the poet's description of the tarns, or lonely bodies of water, which lie here and there among the hills:

"They are difficult of access and naked; yet some of them are, in their permanent forms, very grand, and there are accidents of things which would make the meanest of them interesting.

At all events, one of these pools is an acceptable sight to the mountain wanderer, not merely as an incident that diversifies the prospect, but as forming in his mind a centre or conspicuous point to which objects, otherwise disconnected or insubordinated, may be referred. Some few have a varied outline, with bold heath-clad promontories; and as they mostly lie at the foot of a steep precipice, the water, where the sun is not shining upon it, appears black and sullen, and round the margin huge stones and ma.s.ses of rock are scattered, some defying conjecture as to the means by which they came thither, and others obviously fallen from on high, the contribution of ages! A not unpleasing sadness is induced by this perplexity, and these images of decay; while the prospect of a body of pure water, unattended with groves and other cheerful rural images by which fresh water is usually accompanied, and unable to give furtherance to the meagre vegetation around it, excites a sense of some repulsive power strongly put forth, and thus deepens the melancholy natural to such scenes."

To those who love to deduce the character of a population from the character of their race and surroundings the peasantry of c.u.mberland and Westmoreland form an attractive theme. Drawn in great part from the strong Scandinavian stock, they dwell in a land solemn and beautiful as Norway itself, but without Norway's rigour and penury, and with still lakes and happy rivers instead of Norway's inarming melancholy sea. They are a mountain folk; but their mountains are no precipices of insuperable snow, such as keep the dwellers in some Swiss hamlet shut in ignorance and stagnating into idiocy. These barriers divide only to concentrate, and environ only to endear; their guardianship is but enough to give an added unity to each group of kindred homes. And thus it is that the c.u.mbrian dalesmen have afforded perhaps as near a realization as human fates have yet allowed of the rural society which statesmen desire for their country's greatness. They have given an example of substantial comfort strenuously won; of home affections intensified by independent strength; of isolation without ignorance, and of a shrewd simplicity; of an hereditary virtue which needs no support from fanaticism, and to which honour is more than law.

The school of political economists, moreover, who urge the advantage of a peasant proprietary--of small independent holdings,--as at once drawing from the land the fullest produce and rearing upon it the most vigorous and provident population,--this school, as is well known, finds in the _statesmen_ of c.u.mberland one of its favourite examples. In the days of border-wars, when the first object was to secure the existence of as many armed men as possible, in readiness to repel the Scot, the abbeys and great proprietors in the north readily granted small estates on military tenure, which tenure, when personal service in the field was no longer needed, became in most cases an absolute ownership. The attachment of these _statesmen_ to their hereditary estates, the heroic efforts which they would make to avoid parting with them, formed an impressive phenomenon in the little world--a world at once of equality and of conservatism--which was the scene of Wordsworth's childish years, and which remained his manhood's ideal.