The lonely moor

Over the green squares of the fields and the low curve of a wood there arose in the distance a gray, melancholy hill, with a strange jagged summit, dim and vague in the distance, like some fantastic landscape in a dream.
--The Hound of the Baskervilles

The Hound of the Baskervilles may be the most popular -- and best -- of the Sherlock Holmes stories of Arthur Conan Doyle.  I first read it when I was about 15, shivering with pleasure -- and I read it again this week. 

I still enjoy it.  I'm perhaps less overawed by Holmes's powers of deduction than I was as a teenager.  But both then and now, I'm able to lose myself in Conan Doyle's vivid portrayal of the English moors -- their gloom, their loneliness, their desolation.  The gothic atmosphere painted by Conan Doyle is as memorable as his detective's solution of a bizarre crime, a ghastly murder apparently caused by a fire-breathing hound from hell.

But is Dartmoor -- where the action takes place -- really as dismal and gothic as the story would suggest? I don't know. I've never been to Devon, where the moor is located. It's a large (for England) tract of land -- 368 square miles of uncultivated peat and granite, bogs and tors, bisected by (reasonably enough) the River Dart. The treachorous swampland, the mire that ultimately claimed the life of Conan Doyle's villain, really exists -- Fox Tor Mires being its actual name, rather than Great Grimpen Mire. And the mysterious neolithic standing stones and stone huts are there to be seen, just as in the story.

But, as I look at the photos of Dartmoor that come up from a Yahoo! search, it's hard to see much that's sinister. In fact, the moorland is quite lovely -- the moors and tors looking much like parts of Wyoming. Come to think of it, my expectations of grimness and desolation while I crossed Rannoch Moor in the West Scottish Highlands were never quite realized. Rannoch Moor was also beautiful, and not at all foreboding.

Admittedly, the day I hiked across Rannoch Moor was exceptionally clear and sunny. And most of the photos I've seen of Dartmoor were taken on equally appealing days, days that would tempt the tourist -- from England or anywhere else in the world -- to come visit. In the fog, perhaps, during a wild and stormy night, I might feel different, especially if I were spending the night in a house overlooking the blackness of the moors, my room lit only by a candle.

Part of Dartmoor's grim reputation -- aside from its being featured in The Hound of the Baskervilles -- probably derives from the presence on the moor of Dartmoor Prison. One of the creepy plot devices encountered in the Conan Doyle story was the desperate and brutish escapee from that prison, at loose upon the moors, whom Holmes and Watson encountered. But I also suspect that the average, untraveled Brit -- after a thousand years of civilization and agricultural cultivation -- simply sees wilderness through eyes different from ours as Americans. (Howls of British protest will be cheerfully heard out.)

I'm thinking of our own English forebears, settling in New England. Recall The Scarlet Letter, in which Hawthorne causes the town to represent Christianity and civilization, and the wilderness outside the town to represent barbarism and the realm of Satan. This very early American attitude reflected European sensibilities, where men and women for centuries had strenuously devoted their lives to clearing the forests, exterminating the wolves, seeking out and burning covens of witches frolicking in the wildlands -- a long, continuous effort to replace the wilderness with safe, cozy towns; fortified castles; well-tended crops.

It wasn't until the nineteenth century that we ourselves, in America, began breaking free from this mindset, adopting in its place a romantic exaltation of wilderness. Any major American art museum will contain examples of the nineteenth century's Hudson River School, and later paintings of the American Mountain West. The Sierra Club and the photography of Ansel Adams arose out of this spirit of nature romanticism.

Which is not to say that the British don't also have a strong romantic attachment to nature. In general, however, British romanticism seems to value landscapes shaped by civilization -- the old mill, the arched bridge, the ruined abbey, the ancient Roman pathway -- more frequently than nature in the raw.

All of which is simply a long-winded way of saying that Americans have until rather recently lived in a country more undeveloped than developed -- as did the Europeans -- but have done so during an era when the forests were easy to clear and the wolf at the door didn't pose an existential threat. As a result, wilderness seems more natural and less threatening than it does, perhaps, in Europe. The photos I see of Dartmoor are beautiful, and I hope to visit it someday. But neither its size nor its wildness seem exceptional from an American's perspective.

Of course, as I mentioned in an earlier post, the entire Lake District would fit within the combined city limits of Minneapolis-St. Paul, and the Langdales within the Lake District never rise above three thousand feet. And yet -- last summer, I did manage to get lost in the fog, didn't I?