At present this tongue of land bears a railway, terminating in a pretty square of houses, called Chesilton, and there is a Portland station. Railway carriages roll where seals used to crawl.
The Isthmus of Portland two hundred years ago was a back of sand, with a vertebral spine of rock.
The child’s danger changed its form. What he had had to fear in the descent was falling to the bottom of the precipice; in the isthmus, it was falling into the holes. After dealing with the precipice, he must deal with the pitfalls. Everything on the sea-shore is a trap—the rock is slippery, the strand is quicksand. Resting-places are but snares. It is walking on ice which may suddenly crack and yawn with a fissure, through which you disappear. The ocean has false stages below, like a well-arranged theatre.
The long backbone of granite, from which fall away both slopes of the isthmus, is awkward of access. It is difficult to find there what, in scene-shifters’ language, are termed practicables. Man has no hospitality to hope for from the ocean; from the rock no more than from the wave. The sea is provident for the bird and the fish alone. Isthmuses are especially naked and rugged; the wave, which wears and mines them on either side, reduces them to the simplest form. Everywhere there were sharp relief ridges, cuttings, frightful fragments of torn stone, yawning with many points, like the jaws of a shark; breaknecks of wet moss, rapid slopes of rock ending in the sea. Whosoever undertakes to pass over an isthmus meets at every step misshapen blocks, as large as houses, in the forms of shin-bones, shoulder-blades, and thigh-bones, the hideous anatomy of dismembered rocks. It is not without reason that these striae of the sea-shore are called cotes.[9]