“The Alps form a book of nature as wide and mysterious as Life,” says Frederic Harrison in his Alpine Jubilee, in one of those clear-cut and well-measured passages of mountain homage, which are balm to the tormented hearts of those who feel themselves afloat on the clouds of mystery. “To know, to feel, to understand the Alps is to know, to feel, to understand Humanity.”
I am not at all sure this is true; it is probably entirely untrue. Humanity—in the abstract—is apt to suffer an enforced reduction in magnitude and importance when seen from Alpine heights. But it is one of those phrases which we hug instinctively as the bearers of food for hungry hearts. We do not want Leslie Stephen's reminder of metaphysical riddles, “Where does Mont Blanc end and where do I begin?” We do not want to be paralysed by philosophic doubt for the rest of our mortal lives on the hills. We prefer to be stirred to emotional life by those who are transported by love of beauty to the realms of unreason.
In the autobiography of Princess Hélène Racowitza—the tragically beloved of Ferdinand Lassalle—there is evidence of such transport. She has but reached one of the commonplaces of tourist ventures. From the Wengern Alp she watches the play of night and dawn on the Jungfrau:
Again and again the glory of God drew me to the window. In the immense stillness of the loneliness of the mountains, the thundering of the avalanches that crashed from time to time from the opposite heights was the only sound. It was as if one heard the breath of God, and in deepest reverence one's heart stood almost still.
She beholds the moon pale and the summit of the Jungfrau glitter in “a thousand prismatic colours” from the rising sun:
Once more I was shaken to the depths of my soul, thankful that I was allowed to witness this and to enjoy it thus. A great joy leapt up in my heart, which more surely than the most fervent prayer of thanks penetrated to the infinite goodness of the great Almighty.
The sincerity of the religious feeling is enhanced by its simplicity. The more complex experiences of the true mystical nature retain the same intensity of devotional fervour. Anna Kingsford, whose interpretations of the inner meaning of Christianity place her in the foremost rank of modern mystics, was caught up to God by the beauty of the mountains. Her friend and biographer, Edward Maitland, describes their effect on one in whom a fiercely artistic soul did combat with a frail and suffering body. It was whilst near the mountains that she conceived her beautiful utterance on the Poet:
But the personality of the Poet is Divine: and being Divine, it hath no limits.
He is supreme and ubiquitous in consciousness: his heart beats in every Element.
The Pulses of all the infinite Deep of Heaven vibrate in his own: and responding to their strength and their plenitude, he feels more intensely than other men.
Not merely he sees and examines these Rocks and Trees: these variable Waters, and these glittering Peaks.
Not merely he hears this plaintive Wind, these rolling Peals:
But he is all these: and with them—nay, in them—he rejoices and weeps, he shines and aspires, he sighs and thunders.
And when he sings, it is not he—the Man—whose Voice is heard: it is the voice of all the Manifold Nature herself.
In his Verse the Sunshine laughs; the Mountains give forth their sonorous Echoes; the swift Lightnings flash.
The great continual cadence of universal Life moves and becomes articulate in human language.
O Joy profound! O boundless Selfhood! O Godlike Personality!
All the Gold of the Sunset is thine; the Pillars of Chrysolite; and the purple Vault of Immensity!
Anna Kingsford did not consciously seek the mountains to find there the release of imprisoned powers of utterance. The mountains sought her by their beauty and called forth the true mystic's ecstasy of communion. Mystics of all times and all religions have found inspiration and strength of spirit on the hilltops; they have forsaken the haunts of men for the silence of the heights, preparing themselves by meditation and self-purification to receive the Beatific Vision. They have gone up alone in anguish and uncertainty, they have come down inspired bearers of transcendental tidings to men. These messengers of the spirit have known the joys of illumination and the secret of the strength of the hills.
Others have sought in agony and mortification of mind the vision which was denied them. For in chasing away the images of sin they forgot to make room for the images of beauty. With Simeon Stylites, they point to their barren sojourn on the hills:
Three winters that my soul might grow to thee, I lived up there on yonder mountain-side, My right leg chained into the crag, I lay Pent in a roofless close of ragged stones.
It is to the rarefied perception of beauty that we may trace the quickening of spirit which artists and poets experience on the mountains. Heine, going to the Alps with winter in his soul, “withered and dead,” finds new hope and a new spring. The melodies of poetry return, he feels once again his valour as a soldier in the war of liberation of humanity.
The process of unburdening hearts has been continuous since we discovered the boundless capacity of the hills to hide our shame and discharge our thunder. Petrarch set the example on the top of Mont Ventoux when he deliberately recollected and wept over his past uncleanness and the carnal corruptions of his soul. I never tire of that dearly sentimental mixture of world-weariness and nature-study which Elisée Reclus called the History of a Mountain. “I was sad, downcast, weary of my life. Fate had dealt hardly with me: it had robbed me of all who were dear to me, had ruined my plans, frustrated all my hopes. People whom I called my friends had turned against me when they beheld me assailed by misfortune; all mankind with its conflicting interests and its unrestrained passions appeared repulsive in my eyes.” Thus he invites us to follow him towards the lofty blue peaks. In the course of his wanderings he finds Nature's peace and freedom, and as his love of the mountains expands, kind tolerance returns to his heart. He takes geological and meteorological notes, he studies men and beasts on the peaks, and never forgets to draw moralizing comparisons. The climb is to him the symbol of “the toilsome path of virtue,” the difficult passes, the treacherous crevasses reminders of temptations to be overcome by a sanctified will.
I am afraid modern climbers show scant regard for Elisée Reclus' rules for moral exercises. Many are moved by an exuberance of physical energy which rejoices in battle with Nature. They love the struggle and the danger, the exercise and the excitement. They find health and good temper, jollity and good-fellowship, through their exertions. They glory shamelessly in useless scrambles which demand the sweat of their brow and the concentrated attention of their minds. They seek to emulate the chamois and the monkey in hanging on to rocks and insecure footholds. When they do not climb, they fill libraries with descriptions of their achievements, dull and unintelligible to the uninitiated, bloodstirring and excellent to the members of the brotherhood. They write in a jargon of their own of chimneys and buttresses and basins and ribs, of boulders and saddles and moraine-hopping. They become rampant at the thought of the stout, unworthy people who are now dragged to the tops by the help of rope-chains and railings. They sarcastically remark that they may have to abandon certain over-exploited peaks through the danger of falling sardine-tins. They issue directions for climbing calculated to chase away the poet from the snow-fields, as when Sir Martin Conway says that a certain glacier must be “struck at the right corner of its snout,” and “its drainage stream flows from the left corner.”
They do not hesitate to admit that they would continue to climb even if there were no views to be enjoyed from the tops. “I am free to confess,” wrote A. F. Mummery, “that I would still climb, even though there were no scenery to look at.” And Mrs. Aubrey Le Blond echoes this sentiment in a defiant challenge to their uncomprehending critics. “To further confound the enemy,” she writes, “we do not hide the fact that were no view obtainable from the summit a true climber would still continue to climb.”
Why