But perhaps the feature in these Scottish lowlands which more particularly deserves notice here, is the contrast to be found between their streams and those of south-eastern England. Owing to the uneven forms and steeper slopes of the ground, the drainage runs off rapidly to the sea. The brooks are full of motion, as they tumble over waterfalls, plunge through rocky ravines, and sweep round the boulders that cumber their channels. They furnish, moreover, countless dells and dingles where the native copsewoods find their surest shelter. There the gorse and the sloe come earliest into bloom, and the wild flowers linger longest. There too the birds make their chief home. These strips of wild nature, winding through cultivated field or bare moor, from the hills to the sea, offer in summer scenes of perfect repose. But they furnish too, from time to time, pictures of tumult and uproar, when rain-clouds have burst upon the uplands, and the streams come down in heavy flood, pouring through the glens with a din that can be heard from far. Brooks and rivers have always had a fascination for poets. Their banks supply secluded spots for reverie and communion with nature. Under their shade and shelter, bird and blossom and flower are guarded from the blasts around, while the sparkle and murmur of their waters give a sense of life and companionship even in the depths of solitude. Constant familiarity with such a type of stream as that of the Scottish lowlands can hardly fail to strike the imagination in a different way from that which has attended the slow-creeping and silent brooks of the south-east of England. The Scottish poets, even in the earlier centuries, show traces of the influence of their more rugged surroundings; but not till the eighteenth century did this influence manifest itself in such a manner as to affect the general flow of English literature.