Thy soft bosom like the white rock
On bank of Brano of white streams.'[47]
Though Macpherson roused the interest of the world in the rugged scenery and boisterous climates of the west, it was some time before any other writer followed his lead among the highlands of this country. It is singular to reflect that though the mountain-world, more than any other part of the land, appeals to the imagination, by revealing all that is most impressive in form and colour, and all that is most vigorous in the elemental warfare of nature, it was the last part of the terrestrial surface to meet with due appreciation. Little more than a century has passed since men began to visit the Scottish Highlands for the pleasure of admiring their scenery. Previous to the suppression of the Jacobite rising, that mountainous region was regarded as the abode of a half-savage race, into whose wilds few lowlanders would venture without the most urgent reasons. Even after military roads had been made across it, the accommodation for travellers was still generally of the most wretched kind. Those who had occasion to traverse it gave such an account of their experiences as one would hardly now expect to receive from the heart of Africa.[48] The poet Gray during his visit to Scotland in the year 1765, made a brief excursion into the Perthshire Highlands, and, in spite of the discomforts of travel at that time, came away with a vivid impression of the grandeur and beauty of the scenery. But the only record that remains of this impression is to be found in a few sentences in his letters.[49]
Eight years after Gray's visit, Samuel Johnson in 1773 made his more adventurous journey to the Hebrides. When we consider what were the discomforts, and sometimes the actual dangers which he had to undergo, we cannot but admire the quiet courage with which he endured them, and the reticence with which he refers to them in his narrative. But Johnson could see no charm in the Highland mountains. In his poem on London he had asked many years before:
'For who would leave, unbrib'd, Hibernia's land,
Or change the rocks of Scotland for the Strand?'
Yet when at last he set foot in Scotland, he showed no disposition to prefer its rocks to his haunts in London. Travelling through some of the finest scenery in Western Inverness-shire, this is the language he uses regarding it: 'The hills exhibit very little variety; being almost wholly covered with dark heath, and even that seems to be checked in its growth. What is not heath is nakedness, a little diversified by now and then a stream rushing down the steep. An eye accustomed to flowery pastures and waving harvests is astonished and repelled by this wide extent of hopeless sterility. The appearance is that of matter incapable of form or usefulness, dismissed by nature from her care and disinherited of her favours, left in its original elemental state, or quickened only by one sullen power of useless vegetation.'[50]
While such was the attitude of the man of letters in this country, influences were at work on the Continent which powerfully affected the relations of literature to the whole realm of outer nature, and more especially to mountain-scenery. Rousseau's descriptions, followed by the more detailed and scientific narrative of De Saussure, drew the attention of society to the fascinations of Switzerland and the Alps. But these influences had hardly had time to exert much sway in their application to the scenery of our own country when the genius of Scott suddenly brought the features of the Scottish Highlands into the most popular literature of his day. In his youth the future poet and novelist had paid some visits to the glens and lakes of Perthshire, where he found many a primitive custom still remaining, which has since vanished before roads, railways, and tourists. In the year 1810 his Lady of the Lake appeared. Thenceforward the stream of summer visitors set in, which has poured in an ever-increasing flood into the Highlands of Scotland. The general interest thus awakened in the glens and mountains of the north was still further intensified by the advent of the Lord of the Isles, and of Waverley, Rob Roy, and the other novels that depict scenes in the Highlands. Certainly no man ever did so much as Walter Scott to make the natural features of his native country familiar to the whole world. The literary charm which he threw over the hills and glens of Perthshire kindled a wide-spread enthusiasm for the more rugged aspects of nature, and gave a powerful stimulus to the slowly-growing appreciation of the beauty and grandeur of mountain-scenery.
Nevertheless it must be admitted that Scott's highland landscapes, though more prominent and detailed than those in his descriptions of the lowlands and uplands, were also more laboured and less spontaneous. His pictures are no doubt faithful and graphic, and each of them leaves on the mind a clear impression of the scene depicted. But their effect is produced rather by a multiplicity of touches than by a few masterstrokes of poetic insight and graphic delineation. Moreover they are all in one tone of colour, and lack that changeful diversity so characteristic of mountains. They are chiefly fine-weather portraits, as if the poet loved only summer sunshine among the hills, and had either never seen or cared not to portray their gloom, cloud, and storm. We are bound of course to remember that, after all, he was only an occasional visitor to the Highlands. He had not been born among them, and never lived long enough in their solitudes to become intimately versed in all their alternations of mood under changes of sky and season. He writes of them as an admiring and even enthusiastic spectator, but not as one into whose very soul the power of the mountains had entered. He never warms among them into that fervent glow of affectionate appreciation which kindles within him in sight of the landscapes of his native Border.