# English Hours (Cambridge: The Riverside Press, 1905)/North Devon

NORTH DEVON
FOR those fanciful observers to whom broad England means chiefly the perfection of the rural picturesque, Devonshire means the perfection of England. I, at least, had so complacently taken for granted here all the characteristic graces of English scenery, had built so boldly on their rank orthodoxy, that before we fairly crossed the border I had begun to look impatiently from the carriage window for the veritable landscape in water-colours. Devonshire meets you promptly in all its purity, for the course of ten minutes you have been able to ​glance down the green vista of a dozen Devonshire lanes. On huge embankments of moss and turf, smothered in wild flowers and embroidered with the finest lacework of trailing ground-ivy, rise solid walls of flowering thorn and glistening holly and golden broom, and more strong, homely shrubs than I can name, and toss their blooming tangle to a sky which seems to look down between them, in places, from but a dozen inches of blue. They are oversown with lovely little flowers with names as delicate as their petals of gold and silver and azure—bird's-eye and king's-finger and wandering-sailor—and their soil, a superb dark red, turns in spots so nearly to crimson that you almost fancy it some fantastic compound purchased at the chemist's and scattered there for ornament. The mingled reflection of this rich-hued earth and the dim green light which filters through the hedge is a masterpiece of produced beauty. A Devonshire cottage is no less striking an outcome of the ages and the seasons and the manners. Crushed beneath its burden of thatch, coated with a rough white stucco of a tone to delight a painter, nestling in deep foliage and garnished at doorstep and wayside with various forms of chubby infancy, it seems to have been stationed there for no more obvious purpose than to keep a promise to your fancy, though it covers, I suppose, not a little of the sordid side of life which the fancy likes to slur over.
A DEVONSHIRE LANE
​I rolled past lanes and cottages to Exeter, where I had counted upon the cathedral. When one has fairly tasted of the pleasure of cathedral-hunting the approach to each new possible prize of the chase gives a peculiarly agreeable zest to the curiosity. You are making a collection of great impressions, and I think the process is in no case so delightful as applied to cathedrals. Going from one fine picture to another is certainly good; but the fine pictures of the world are terribly numerous, and they have a troublesome way of crowding and jostling each other in the memory. The number of cathedrals is small, and the mass and presence of each specimen great, so that as they rise in the mind in individual majesty they dwarf all the commoner impressions of calculated effect. They form indeed but a gallery of vaster pictures; for when time has dulled the recollection of details you retain a single broad image of the vast grey edifice, with its head and shoulders, its vessel and its towers, its tone of colour, its still green precinct. All this is especially true perhaps of one's sense of English sacred piles, which are almost alone in possessing, as pictures, a spacious and harmonious setting. The cathedral stands supreme, but the close makes, always, the scene. Exeter is not one of the grandest, but, in common with great and small, it has certain points in favour of which local learning discriminates. ​Exeter indeed does itself injustice by a low, dark front, which not only diminishes the apparent altitude of the nave, but conceals, as you look eastward, two noble Norman towers. The front, however, which has a gloomy impressiveness, is redeemed by two fine features: a magnificent rose-window, whose vast stone ribs (enclosing some very pallid last-century glass) are disposed with the most charming intricacy; and a long sculptured screen—a sort of stony band of images—which traverses the façade from side to side. The little broken-visaged effigies of saints and kings and bishops, niched in tiers along this hoary wall, are prodigiously black and quaint and primitive in expression; and as you look at them with whatever contemplative tenderness your trade of hard-working tourist may have left at your disposal, you fancy that they are broodingly conscious of their names, histories, and misfortunes; that, sensitive victims of time, they feel the loss of their noses, their toes, and their crowns; and that, when the long June twilight turns at last to a deeper grey and the quiet of the close to a deeper stillness, they begin to peer sidewise out of their narrow recesses and to converse in some strange form of early English, as rigid, yet as candid, as their features and postures, moaning, like a company of ancient paupers round a hospital fire, over their aches and infirmities and losses and the sadness ​of being so terribly old. The vast square transeptal towers of the church seem to me to have the same sort of personal melancholy. Nothing in all architecture expresses better, to my imagination, the sadness of survival, the resignation of dogged material continuance, than a broad expanse of Norman stonework, roughly adorned with its low relief of short columns and round arches and almost barbarous hatchet-work, and lifted high into that mild English light which accords so well with its dull-grey surface. The especial secret of the impressiveness of such a Norman tower I cannot pretend to have discovered. It lies largely in the look of having been proudly and sturdily built—as if the masons had been urged by a trumpet-blast, and the stones squared by a battle-axe—contrasted with this mere idleness of antiquity and passive lapse into quaintness. A Greek temple preserves a kind of fresh immortality in its concentrated refinement, and a gothic cathedral in its adventurous exuberance; but a Norman tower stands up like some simple strong man in his might, bending a melancholy brow upon an age which demands that strength shall be cunning.
The North Devon coast, whither it was my design on coming to Exeter to proceed, has the primary merit of being, as yet, virgin soil as to railways. I went accordingly from Barnstable to Ilfracombe on ​the top of a coach, in the fashion of elder days; and, thanks to my position, I managed to enjoy the landscape in spite of the two worthy aboriginals before me who were reading aloud together, with a natural glee which might have passed for fiendish malice, the "Daily Telegraph's" painfully vivid account of the defeat of the Atalanta crew. It seemed to me, I remember, a sort of pledge and token of the invincibility of English muscle that a newspaper record of its prowess should have power to divert my companions' eyes from the bosky flanks of Devonshire combes. The little watering-place of Ilfracombe is seated at the lower verge of one of these seaward-plunging valleys, between a couple of magnificent headlands which hold it in a hollow slope and offer it securely to the caress of the Bristol Channel. It is a very finished little specimen of its genus, and I think that during my short stay there I expended as much attention on its manners and customs and its social physiognomy as on its cliffs and beach and great coast-view. My chief conclusion perhaps, from all these things, was that the terrible "summer-question" which works annual anguish in so many American households would rage less hopelessly if we had a few Ilfracombes scattered along our Atlantic coast; and furthermore that the English are masters of the art of not losing sight of ease and convenience in the pursuit of the pastoral life—
THE NORMAN TOWERS OF EXETER
​unlike our own people, who, when seeking rural beguilement, are apt but to find a new rudeness added to nature. It is just possible that at Ilfracombe ease and convenience weigh down the scale; so very substantial are they, so very officious and businesslike. On the left of the town (to give an example) one of the great cliffs I have mentioned rises in a couple of massive peaks and presents to the sea an almost vertical face, all muffled in tufts of golden broom and mighty fern. You have not walked fifty yards away from the hotel before you encounter half a dozen little sign-boards, directing your steps to a path up the cliff. You follow their indications and you arrive at a little gate-house, with photographs and various local gimcracks exposed for sale. A most respectable person appears, demands a penny and, on receiving it, admits you with great civility to commune with nature. You detect, however, various little influences hostile to perfect communion. You are greeted by another sign-board threatening legal pursuit if you attempt to evade the payment of the sacramental penny. The path, winding in a hundred ramifications over the cliff, is fastidiously solid and neat, and furnished at intervals of a dozen yards with excellent benches, inscribed by knife and pencil with the names of such visitors as do not happen to have been the elderly maiden ladies who now chiefly occupy them. All ​this is prosaic, and you have to subtract it in a lump from the total impression before the sense of the beguilement of nature becomes distinct. Your subtraction made, a great deal assuredly remains; quite enough, I found, to give me an ample day's refreshment; for English scenery, like most other English commodities, resists and rewards familiar use. The cliffs are superb, the play of light and shade upon them is a perpetual study, and the air a particular mixture of the breath of the hills and moors and the breath of the sea. I was very glad, at the end of my climb, to have a good bench to sit upon—as one must think twice in England before measuring one's length on the grassy earth; and to be able, thanks to the smooth foot-path, to get back to the hotel in a quarter of an hour. But it occurred to me that if I were an Englishman of the period, and, after ten months of a busy London life, my fancy were turning to a holiday, to rest and change and oblivion of the ponderous social burden, it might find rather less inspiration than needful in a vision of the little paths of Ilfracombe, of the signboards and the penny-fee and the solitude tempered by old ladies and sheep. I wondered whether change perfect enough to be salutary does not imply something more pathless, more idle, more unreclaimed from that deep-bosomed nature to which the overwrought mind reverts with passionate ​longing; something after all attainable at a moderate distance from New York and Boston. I must add that I cannot find in my heart to object, even on grounds the most æsthetic, to the very beautiful and excellent inn at Ilfracombe, where such of my readers as are perchance actually wrestling with the question of "where to go" may be interested to learn that they may live en pension, very well indeed, at a cost of ten shillings a day. I have paid the American hotel-clerk a much heavier tax on a much lighter entertainment. I made the acquaintance at this establishment of that strange fruit of time the insular table d'hôte, but I confess that, faithful to the habit of a tourist open to the arriêrepensée, I have retained a more vivid impression of the talk and the faces than of our joints and side-dishes, I noticed here what I have often noticed before (the truth perhaps has never been duly recognised), that no people profit so eagerly as the English by the suspension of a common social law. A table d'hôte, being something abnormal and experimental, as it were, resulted apparently in a complete reversal of the supposed national characteristics. Conversation was universal—uproarious almost; old legends and ironies about the insular morgue seemed to see their ground crumble away. What social, what psychologic earthquake, in our own time, had occurred?
​These are meagre memories, however, compared with those which cluster about that place of pleasantness which is locally known as Lynton. I am afraid I may seem a mere professional gusher when I declare how common almost any term appears to me applied to Lynton with descriptive intent. The little village is perched on the side of one of the great mountain-cliffs with which this whole coast is adorned, and on the edge of a lovely gorge through which a broad hill-torrent foams and tumbles from the great moors whose heather-crested waves rise purple along the inland sky. Below it, close beside the beach where the little torrent meets the sea, is the sister village of Lynmouth. Here—as I stood on the bridge that spans the stream and looked at the stony backs and foundations and overclambering garden verdure of certain little grey old houses which plunge their feet into it, and then up at the tender green of scrub-oak and fern, at the colour of gorse and broom and bracken climbing the sides of the hills and leaving them bare-crowned to the sun like miniature mountains—I read an unnatural blueness into the northern sea, and the village below put on the grace of one of the hundred hamlets of the Riviera. The little Castle Hotel at Lynton is a spot so consecrated to supreme repose—to sitting with a book in the terrace-garden, among blooming plants of aristocratic magnitude and rarity, and ​watching the finest piece of colour in all nature, the glowing red and green of the great cliffs beyond the little harbour-mouth, as they shift and change and melt, the livelong day, from shade to shade and ineffable tone to tone—that I feel as if in helping it to publicity I were doing it rather a disfavour than a service. It is in fact a very deep and sure retreat, and I have never known one where purchased hospitality wore a more disinterested smile. Lynton is of course a capital centre for excursions, but two or three of which I had time to make. None is more beautiful than a simple walk along the running face of the cliffs to a singular rocky eminence whose curious abutments and pinnacles of stone have inevitably caused it to be named the Castle. It has a fantastic resemblance to some hoary feudal ruin, with crumbling towers and gaping chambers tenanted by wild sea-birds. The late afternoon light had a way, at this season, of lingering on until within a couple of hours of midnight; and I remember among the charmed moments of English travel none of a more vividly poetical tinge than a couple of evenings spent on the summit of this all but legendary pile in company with the slow-coming darkness and the short, sharp cry of the sea-mews. There are places whose very aspect is a story or a song. This jagged and pinnacled coast-wall, with the rock-strewn valley behind it, the sullen calmness ​of the unbroken tide at the dreadful base of the cliffs (where they divide into low sea-caves, making pillars and pedestals for the fantastic imagery of their summits), prompted one to wanton reminiscence and outbreak, to a recall of some drawing of Gustave Doré's (of his good time), which was a divination of the place and made one look for his signature under a stone, or, better still, to respouting, for sympathy and nehef, some idyllic Tennysonian line that had haunted one's destitute past and that seemed to speak of the conditions in spite of being false to them geographically.
1872.