The Moors near Brendon Two Gates
The Foreland is a great bold promontory looking towards the Welsh coast, which hangs on the horizon like a low silver cloud above the faint haze of the summer sea. Below lie Sillery Sands, and the caves of the beach; beyond, the opening heights of Exmoor, in long flat curves, featureless, spacious, and beautiful, purple and sombre under the wrack of rain-clouds, grey and arid in the fierce blaze of the midsummer sun, most lovely of all on crisp September mornings, when the heather is abloom in miles on miles of changing purples and the air has a keen, clean edge, as if it were blown off the top of the world. The air of Exmoor has always this sharp sweetness, however much the sun may blaze, as John Ridd knew; and looking over the wide-stretching countryside, one sees many a farm that might have been his, a sturdy, whitewashed affair, flanked generously with out-buildings, and standing high, but sheltered, in a hollow of the ground, cut off from its neighbours by the rising hills, and even more isolated in winter by the deep ruts of the roads, muddy and impassable, that wind from valley to valley.
A mile beyond County Gate is the village of Oare, where John Kidd and Lorna were married; and as we follow the Porlock road across the moors we see on our right the dip of the Doone Valley, where Lorna's bower was, and a few scattered remains of stone huts show the habitations of the outlaws. It is a scene of wildness and grandeur; on the left lies the blue sea, on the right the dun-coloured moors. There are no trees, save for a few writhen and stunted alders, covered with lichen till they are the colour of stone, and look like petrified remains of an earlier age; they are grown all to one side under the stress of the prevailing wind. The only signs of life are the scattered sheep, their grey backs scarcely visible among the heather and close furze, a great buzzard hawk poised far up in the blue, and, when his shadow has passed, sailing slowly over the shadeless ground, the sweet, monotonous song of mounting larks.
CHAPTER VI
PORLOCK AND EXMOOR
The road now lies in Somerset; we pass Glenthorne, lying five hundred feet below, among its beautiful green woods and stretches of vivid green turf, and separated by some five miles of barren brown moors from the village of Porlock. The road that leads from Exmoor down to Porlock is incredibly steep, the steepest coach-road in England. It twists dangerously in sharp right-angle turns, the surface is loose and stony, worn by the dragging of brakes and the scouring of winter rains, and on a summer afternoon it is so hot, so dusty and glaring, and so steep, that it seems impossible for man or beast to climb. As soon as you are at the top, however, the fresh air of Exmoor fills your lungs and freshens your face, so let nobody be dissuaded from it.
Porlock itself was a port in Saxon times and in the reign of William the Conqueror (I have told elsewhere how not only the Danes, but Saxon Earl Harold, drove his ships into the harbour on a fierce raiding expedition), but it is now an inland village, and between it and the sea lie two miles of flat land of the most wonderful luxuriance. De gustibus indeed, and to me Porlock is one of the most beautiful spots in all England. It lies in a green bay—what was a bay eight centuries ago—between two towering headlands. On three sides of it rise the heights of Exmoor, barren, beautiful, and windswept; before it stretch the lands over which the Danes sailed, running out to a thin strip of marshland, and then a silvery flat beach, and then the tremulous silver curve of the sea, not like the line of wave that breaks at the foot of cliffs, but a true marshland sea, seeming to come from nowhere, infinitely smooth and faint and distant from the level shore to the dim horizon.
There are many kinds of beauty in the world: beauty of hot suns and delicate mists, of sea and shore, mountain and lake and city; there is the beauty of barren moors and of green orchards, and of flat fertile marshlands where streams run amid a luxuriance of tangled growth, kingcups and meadowsweet and loose-strife and forget-me-nots, and feathery willows and rushes where the reed-warblers sing. And at Porlock there is such a gathering up of these different beauties that it is difficult to describe the pleasure that one has in it. I have told you how it is fenced by Exmoor, and lies within sight of Dunkery Beacon, the highest point of the moors; but it is impossible to convey adequately the peculiar beauty of those great smooth dipping curves, the satisfying breadth and harmony of their line, the way the sunlight lies upon them, and the rich deep shadows that slide into their folds. And below, round Porlock, lie the orchards. I came there once in the spring, and as we turned the last angle of the stony road I saw before me such a sweep of blossom, such a foam of cherry and pear, white above the luxuriant grass, and of that delicate flushed rose of the apple-blossom, so exquisite a range of green, the hazy green of willows and the bright clear green of hawthorn, that it seemed impossible it should lie just under those miles on miles of moor where nothing bloomed but furze and heather.
The green fields that stretched away to the sea were just such fields as in the "Romaunt of the Rose" or the poems of the troubadours, fields verdantly green, and starred with daisies and golden with buttercups—the "enamelled meads" of Chaucer and the little illumined pictures of the fourteenth-century manuscripts; and the hedges were just such hedges, incredibly green, with here and there a break for the misty silver of the blackthorn. Wherever flowers could bloom they bloomed, in the gardens, in the hedges, by the roadside, in the crannies of the walls.
Porlock village itself is a quiet, charming spot which, in spite of the temptation of visitors who come here in considerable numbers in the autumn, when stag-hunting on Exmoor is in season, keeps most of its old-world simplicity, and has not much "modernized" itself. It is rambling, calm, and whitewashed; the bank itself is a long, low, cream building with a thatched roof, and a lovely note of colour from a climbing japonica. The Ship Inn also is a pleasant old building, with a dark, cool coffee-room and heavy, timbered roof. "Southey's corner," where he is said to have written his poem, "Porlock, thy verdant vale …," on being detained at the Ship by the heavy moorland rain, is by an old open fireplace, and has been cut off from a larger room by thin partitioning walls. It is a pleasant homely place, with its sound of horses from the stable-yard, and the clink of its old pewter pots from the bar, with its low raftered ceiling and brick floor, and the sunlight seen from its open doors.
Porlock Church has a square tower, with a heavy, octagonal, truncated spire, which gives the little church an over-weighted appearance, but very distinctive in this country, of tall Perpendicular towers. It is dedicated to St. Dubricius, who is a Celtic saint of the sixth century, who crowned and anointed Arthur of the Round Table; in the twelfth century he became a very famous saint once more, after having been nearly forgotten for several hundred years. Many miracles were worked at his tomb, and churches were dedicated to him. The present church at Porlock was built about the thirteenth century by Sir Simon Fitz-Roges, who was a crusader, but I am inclined to think that the dedication to St. Dubric belonged to the early simple church (probably a thatched and whitewashed barn) which was there at the time of the Conquest, and which, like the neighbouring churches of St. Culbone and St. Brendon, harks back to Celtic Christianity of pre-Saxon times. The church was altered in the fifteenth century, and the Harington Chantry, which now contains the tomb of Baron Harington and his wife, was added, and the present spire, in place of the old one, which was blown down in a gale. It is a little, quiet, grey English church, set peacefully in its green churchyard, shaded by a huge ancient yew, perhaps as old as itself. In the winter rain and wind beat round its solid grey walls, in spring the daffodils bloom in the churchyard, and on summer days the bees are busy among the clover and daisies over the graves. There are thousands of such small, sober, beautiful churches in England; they are the monument on which a fragment of the history of the race is inscribed; they are the nucleus of the village life; the beginning and the end of its activities have their sanction within its walls; they are rich with the continued service of men's lives, generation from generation taking up the duty and its privilege; they rise above the clustering roofs of the village, tower or spire, as the visible landmark of faith—not of a creed that can change and ebb and flow, but of a faith in the spiritual core that lies at the heart of material life, like the village church among the homes of its village.
We who pass casually, and pause, and step in and look, with a curious and antiquarian eye, for a bit of old brasswork or carved screen, miss the intimate beauty of these churches as much, perhaps, as if we read them in a catalogue: "St. Dubric; 12th cent.; fine marble monument of 15th cent.…, and so on." The plainest and simplest holds within its whitewashed walls the beauty of continuous tradition; you must see it in all its aspects of daylight and evening light, summer and winter, the rainy, tumultuous November afternoons and the long, golden, mellow evenings of June, to realize what it offers, of peace and order, tenderness and calm.
Inside Porlock Church, which is light and white and simple, there is a beautiful canopied tomb of the fifteenth century, with the recumbent figures of Baron Harington and his wife Elizabeth Courteny, carved in alabaster. Whoever made these marble figures was an artist; not only is the detail of the dress intricately and beautifully carved, the foliated wreath of his helmet, the elaborate decoration of her girdle, and the curved "horns" of her head-dress rolled either side of her face, but the whole pose and outline of the figures is firm and gracious.
I find that this tomb is quite famous among virtuosi, though I was unaware of it when I came upon the monument in the quiet of a workaday afternoon; but its beauty at once claimed my eye, presenting something so different from the average mediaeval tomb, of interest chiefly for its age. These figures are slightly defaced, the sharp edges worn smooth by time, and scores of initials have been scratched roughly on the surface of his armour or her mantle; but there is a certainty of line, a sharpness, and at the same time a suavity of angle, a way of disposing the head and hands and body, all within the stiff convention of rigid tomb carving, that to any lover of sculpture reveals the sure hand of a master, whether he were a nameless stonemason, working in a secluded village, or a renowned man, invited from far.
Standing by this beautiful tomb I can see the sunlight through the open door, with a black splash across the gold, of the great yews beyond; I hear the crowing of cocks and the voice of children, the creak of a passing cart and the song of birds, all the simple, jolly sounds of that everyday life which is the plain fabric on which all history, of nations and empires and monarchs, is (if you like) the embroidery.
From Porlock to the little port of Porlock Weir is a walk of two miles along a narrow lane between high green hedges. The road leads nowhere else but there and back; it is a kind of enchanted road which goes to an enchanted village, a village at the world's end, beyond the circle of mere reality. Every cottage in Porlock Weir is just such a little cottage as J. M. Barrie's fairies might build, low-browed under a steep thatch, with great tall chimneys, in which are cut just such little windows as would frame a fairy's head, looking out and laughing and nodding at you; whitewashed, half-timbered cottages, grouped together in a jumble of delicious curves and angles, with dusky, deep oak doorways, and stone steps hollowed by the feet that have gone in and out, and long leaded windows, softly yellow with lamplight in the mellow twilight of summer evenings, and gardens—oh, gardens that are small, and walled with stone, and running over with colour and bloom as no other gardens in the world could ever be! Hydrangeas, geranium, larkspur and evening primrose, columbine, forget-me-not, roses—and, indeed, the roses have gone wild with freedom, and threaten to overflow and drown the village, trailing over the wall, running up the tall chimneys, thrusting in at the open windows—nor are there names for all the flowers that bloom here, for all the mellow gold and crimson and blue and yellow and purple that glow in the sunlight, and fade gently into shadows of themselves as night falls. Beyond is the sea, all round the flowering meadows of the marsh, behind the moors; to anyone who has had the fortune to see Porlock Weir on such a day in May as this I recall, when this England of ours seems, to our fancy, to gather up all beauties of colour and sound and scent and sunlight of which the long winter and the chill, reluctant spring have starved us, and offer them all at once in immeasurable bounty, this village will seem to them to have the loveliness of magic.
The beauty of Exmoor is a stranger beauty and more remote than that of these lovely villages. It is the beauty of space, I suppose, and the great open arch of the sky; it is the clouds and cloud shadows, the changing light from dawn to evening through the blazing colourless hours of midsummer noon to the tender light of the falling day, when the land lies in long, suave, misty curves; it is the swirl of mist down its hillsides, and the solemn banking of great heavy rain-clouds, purple and black, above it, that gives it so rich and varied a beauty: for it is like a great open canvas, on which an artist's hand makes wonderful pictures of a myriad changes of sun and shadow. Anyone who has seen Exmoor, as Mr. Widgery has seen and loved and painted it, on a still September night, under the mellow splendour of the harvest moon, high above the infinite shadowy blue of the horizon and the misty moor, has seen a rare loveliness he must travel far to match.
