One other mountainous district in Britain—that of the English Lakes—claims our attention for its influence on the progress of the national literature. Of all the isolated tracts of higher ground in these islands, that of the Lake District is the most eminently highland in character. It is divisible into two entirely distinct portions by a line drawn in a north-easterly direction from Duddon Sands to Shap Fells. South of that line the hills are comparatively low and featureless, though they enclose the largest of the lakes. They are there built up of ancient sedimentary strata, like those that form so much of the similar scenery in the uplands of Wales and the South of Scotland. But to the north of the line, most of the rocks are of a different nature, and have given rise to a totally distinct character of landscape. They consist of various volcanic materials which in early Palaeozoic time were piled up around submarine vents, and accumulated over the sea-floor to a thickness of many thousand feet. They were subsequently buried under the sediments that lie to the south, but, in after ages uplifted into land, their now diversified topography has been carved out of them by the meteoric agents of denudation. Thus pike and fell, crag and scar, mere and dale, owe their several forms to the varied degrees of resistance to the general waste offered by the ancient lavas and ashes. The upheaval of the district seems to have produced a dome-shaped elevation, culminating in a summit that lay somewhere between Helvellyn and Grasmere. At least from that centre the several dales diverge, like the ribs from the top of a half-opened umbrella.
The mountainous tract of the Lakes, though it measures only some thirty-two miles from west to east by twenty-three from north to south, rises to heights of more than 3,000 feet, and as it springs almost directly from the margin of the Irish Sea, it loses none of the full effect of its elevation. Its fells present a thoroughly highland type of scenery, and have much of the dignity of far loftier mountains. Their sky-line often displays notched crests and rocky peaks, while their craggy sides have been carved into dark cliff-girt recesses, often filled with tarns, and into precipitous scars, which send long trails of purple scree down the grassy slopes.
Moreover, a mild climate and copious rainfall have tempered this natural asperity of surface by spreading over the lower parts of the fells and the bottoms of the dales a greener mantle than is to be seen among the mountains further north. Though the naked rock abundantly shows itself, it has been so widely draped with herbage and woodland as to combine the luxuriance of the lowlands with the near neighbourhood of bare cliff and craggy scar.
Such was the scenery amidst which William Wordsworth was born and spent most of his long life. Thence he drew the inspiration which did so much to quicken the English poetry of the nineteenth century, and which has given to his dales and hills so cherished a place in our literature. The scenes familiar to him from infancy were loved by him to the end with an ardent and grateful affection which he never wearied of publishing to the world. No mountain-landscapes had ever before been drawn so fully, so accurately, and in such felicitous language. Every lineament of his hills and dales is depicted as luminously and faithfully in his verse as it is reflected on the placid surface of his beloved meres, but suffused by him with an ethereal glow of human sympathy. He drew from his mountain-landscape everything that
'Can give an inward help, can purify
And elevate, and harmonize and soothe.'
It brought to him 'authentic tidings of invisible things'; and filled him with
'The sense