A similar longing to be rid of the precision and order of everyday life drove them to the mountains, and to the literature of Wales and the Highlands, to Celtic, or pseudo-Celtic romance. To the fashion of the time mountains were still frowning and horrid steeps; in Gray's Journal of his tour in the Lakes, a new understanding and appreciation of nature is only struggling through; and when mountains became fashionable, it was at first and remained in part at least, till the time of Byron, for those very theatrical qualities which had hitherto put them in abhorrence. Wordsworth, in his _Lines written above Tintern Abbey_, in which he sets forth the succeeding stages of his mental development, refers to this love of the mountains for their spectacular qualities, as the first step in the progress of his mind to poetic maturity: "The sounding cataract Haunted me like a passion; the tall rock, The mountain and the deep and gloomy wood, Their colours and their forms were then to me An appetite." This same passion for the "sounding cataract" and the "tall rock," this appetite for the deep and gloomy wood, gave its vogue in Wordsworth's boyhood to Macpherson's _Ossian_, a book which whether it be completely fraudulent or not, was of capital importance in the beginnings of the romantic movement. The love of mediaeval quaintness and obsolete words, however, led to a more important literary event--the publication of Bishop Percy's edition of the ballads in the Percy folio--the _Reliques of Ancient Poetry_. Percy to his own mind knew the Middle Ages better than they knew themselves, and he took care to dress to advantage the rudeness and plainness of his originals. Perhaps we should not blame him. Sir Walter Scott did the same with better tact and skill in his Border minstrelsy, and how many distinguished editors are there, who have tamed and smoothed down the natural wildness and irregularity of Blake? But it is more important to observe that when Percy's reliques came to have their influence on writing his additions were imitated as much as the poems on which he grafted them. Chatterton's _Rowley Poems_, which in many places seem almost inconceivably banal and artificial to us to-day, caught their accent from the episcopal editor as much as from the ballads themselves. None the less, whatever its fault, Percy's collection gave its impetus to one half of the romantic movement; it was eagerly read in Germany, and when it came to influence Scott and Coleridge it did so not only directly, but through Burger's imitation of it; it began the modern study and love of the ballad which has given us _Sister Helen_, the _White Ship_ and the _Lady of Shalott_.