of their picture is calm, the foliage is coloured like foliage in a gale.[14] There was nothing, however, of this sort to be noticed in a country where there were no trees and hardly any shadows, save the passive shadows and clouds or those of rigid houses and walls. But the wind was nevertheless an occasion of pleasure; for nowhere could you taste more fully the pleasure of a sudden lull, or a place of opportune shelter. The reader knows what I mean; he must remember how, when he has sat himself down behind a dyke on a hill-side, he delighted to hear the wind hiss vainly through the crannies at his back; how his body tingled all over with warmth, and it began to dawn upon him, with a sort of slow surprise, that the country was beautiful, the heather purple, and the faraway hills all marbled with sun and shadow. Wordsworth, in a beautiful passage[15] of the "Prelude," has used this as a figure for the feeling struck in us by the quiet by-streets of London after the uproar of the great thoroughfares; and the comparison may be turned the other way with as good effect:
"Meanwhile the roar continues, till at length,
Escaped as from an enemy we turn,
Abruptly into some sequestered nook,
Still as a shelter'd place when winds blow loud!"
I remember meeting a man once, in a train, who told me of what must have been quite the most perfect instance of this pleasure of escape. He had gone up, one sunny, windy morning, to the top of a great cathedral somewhere abroad; I think it was Cologne Cathedral, the great unfinished marvel by the Rhine;[16] and after a long while in dark stairways, he issued at last into the sunshine, on a platform high above the town. At that elevation it was quite still and warm; the gale was only in the lower strata of the air, and he had forgotten it in the quiet interior of the church and during his long ascent; and so you may judge of his surprise when, resting his arms on the sunlit balustrade and looking over into the Place far below him, he saw the good people holding on their hats and leaning hard against the wind as they walked. There is something, to my fancy, quite perfect in this little experience of my fellow-traveller's. The ways of men seem always very trivial to us when we find ourselves alone on a church-top, with the blue sky and a few tall pinnacles, and see far below us the steep roofs and foreshortened buttresses, and the silent activity of the city streets; but how much more must they not have seemed so to him as he stood, not only above other men's business, but above other men's climate, in a golden zone like Apollo's![17]
This was the sort of pleasure I found in the country of which I write. The pleasure was to be out of the wind, and to keep it in memory all the time, and hug oneself upon the shelter. And it was only by the sea that any such sheltered places were to be found. Between the black worm-eaten headlands there are little bights and havens, well screened from the wind and the commotion of the external sea, where the sand and weeds look up into the gazer's face from a depth of tranquil water, and the sea-birds, screaming and flickering from the ruined crags, alone disturb the silence and the sunshine. One such place has impressed itself on my memory beyond all others. On a rock by the water's edge, old fighting men of the Norse breed had planted a double castle; the two stood wall to wall like semi-detached villas; and yet feud had run so high between their owners, that one, from out of a window, shot the other as he stood in his own doorway. There is something in the juxtaposition of these two enemies full of tragic irony. It is grim to think of bearded men and bitter women taking hateful counsel together about the two hall-fires at night,[18] when the sea boomed against the foundations and the wild winter wind was loose over the battlements. And in the study we may reconstruct for ourselves some pale figure of what life then was. Not so when we are there; when we are there such thoughts come to us only to intensify a contrary impression, and association is turned against itself.[19] I remember walking thither three afternoons in succession, my eyes weary with being set against the wind, and how, dropping suddenly over the edge of the down, I found myself in a new world of warmth and shelter. The wind, from which I had escaped, "as from an enemy,"[20] was seemingly quite local. It carried no clouds with it, and came from such a quarter that it did not trouble the sea within view. The two castles, black and ruinous as the rocks about them, were still distinguishable from these by something more insecure and fantastic in the outline, something that the last storm had left imminent and the next would demolish entirely. It would be difficult to render in words the sense of peace that took possession of me on these three afternoons. It was helped out, as I have said, by the contrast. The shore was battered and bemauled by previous tempests; I had the memory at heart of the insane strife of the pigmies who had erected these two castles and lived in them in mutual distrust and enmity, and knew I had only to put my head out of this little cup of shelter to find the hard wind blowing in my eyes; and yet there were the two great tracts of motionless blue air and peaceful sea looking on, unconcerned and apart, at the turmoil of the present moment and the memorials of the precarious past. There is ever something transitory and fretful in the impression of a high wind under a cloudless sky; it seems to have no root in the constitution of things; it must speedily begin to faint and wither away like a cut flower. And on those days the thought of the wind and the thought of human life came very near together in my mind. Our noisy years did indeed seem moments[21] in the being of the eternal silence: and the wind, in the face of that great field of stationary blue, was as the wind of a butterfly's wing. The placidity of the sea was a thing likewise to be remembered. Shelley speaks of the sea as "hungering for calm,"[22] and in this place one learned to understand the phrase. Looking down into these green waters from the broken edge of the rock, or swimming leisurely in the sunshine, it seemed to me that they were enjoying their own tranquillity; and when now and again it was disturbed by a wind ripple on the surface, or the quick black passage of a fish far below, they settled back again (one could fancy) with relief.
On shore, too, in the little nook of shelter, everything was so subdued and still that the least particular struck in me a pleasurable surprise. The desultory crackling of the whin-pods[23] in the afternoon sun usurped the ear. The hot, sweet breath of the bank, that had been saturated all day long with sunshine, and now exhaled it into my face, was like the breath of a fellow-creature. I remember that I was haunted by two lines of French verse; in some dumb way they seemed to fit my surroundings and give expression to the contentment that was in me, and I kept repeating to myself—
"Mon coeur est un luth suspendu,[24]
Sitôt qu'on le touche, il résonne."
I can give no reason why these lines came to me at this time; and for that very cause I repeat them here. For all I know, they may serve to complete the impression in the mind of the reader, as they were certainly a part of it for me.
And this happened to me in the place of all others where I liked least to stay. When I think of it I grow ashamed of my own ingratitude. "Out of the strong came forth sweetness."[25] There, in the bleak and gusty North, I received, perhaps, my strongest impression of peace. I saw the sea to be great and calm; and the earth, in that little corner, was all alive and friendly to me. So, wherever a man is, he will find something to please and pacify him: in the town he will meet pleasant faces of men and women, and see beautiful flowers at a window, or hear a cage-bird singing at the corner of the gloomiest street; and for the country, there is no country without some amenity—let him only look for it in the right spirit, and he will surely find.
NOTES
This article first appeared in the Portfolio, for November 1874, and was not reprinted until two years after Stevenson's death, in 1896, when it was included in the Miscellanies (Edinburgh Edition, Miscellanies, Vol. IV, pp. 131–142). The editor of the Portfolio was the well-known art critic, Philip Gilbert Hamerton (1834–1894), author of the Intellectual Life (1873). Just one year before, Stevenson had had printed in the Portfolio his first contribution to any periodical, Roads. Although The Enjoyment of Unpleasant Places attracted scarcely any attention on its first appearance, and has since become practically forgotten, there is perhaps no better essay among his earlier works with which to begin a study of his personality, temperament, and style. In its cheerful optimism this article is particularly
