Chapter VI: Part 6

There is hardly any thing that shows the short-sightedness or capriciousness of the imagination more than travelling does. With change of place we change our ideas; nay, our opinions and feelings. We can by an effort indeed transport ourselves to old and long-forgotten scenes, and then the picture of the mind revives again; but we forget those that we have just left. It seems that we can think but of one place at a time. The canvas of the fancy is but of a certain extent, and if we paint one set of objects upon it, they immediately efface every other. We cannot enlarge our conceptions, we only shift our point of view. The landscape bares its bosom to the enraptured eye, we take our fill of it, and seem as if we could form no other image of beauty or grandeur. We pass on, and think no more of it: the horizon that shuts it from our sight, also blots it from our memory like a dream. In travelling through a wild barren country, I can form no idea of a woody and cultivated one. It appears to me that all the world must be barren, like what I see of it. In the country we forget the town, and in town we despise the country. "Beyond Hyde Park," says Sir Fopling Flutter, "all is a desert." All that part of the map that we do not see before us is a blank. The world in our conceit of it is not much bigger than a nutshell. It is not one prospect expanded into another, county joined to county, kingdom to kingdom, lands to seas, making an image voluminous and vast;--the mind can form no larger idea of space than the eye can take in at a single glance. The rest is a name written in a map, a calculation of arithmetic. For instance, what is the true signification of that immense mass of territory and population, known by the name of China, to us? An inch of paste-board on a wooden globe, of no more account than a China orange! Things near us are seen of the size of life: things at a distance are diminished to the size of the understanding. We measure the universe by ourselves, and even comprehend the texture of our own being only piecemeal. In this way, however, we remember an infinity of things and places. The mind is like a mechanical instrument that plays a great variety of tunes, but it must play them in succession. One idea recalls another, but it at the same time excludes all others. In trying to renew old recollections, we cannot as it were unfold the whole web of our existence; we must pick out the single threads. So in coming to a place where we have formerly lived and with which we have intimate associations, every one must have found that the feeling grows more vivid the nearer we approach the spot, from the mere anticipation of the actual impression: we remember circumstances, feelings, persons, faces, names, that we had not thought of for years; but for the time all the rest of the world is forgotten!

To return to the question I have quitted above. I have no objection to go to see ruins, aqueducts, pictures, in company with a friend or a party, but rather the contrary, for the former reason reversed. They are intelligible matters, and will bear talking about. The sentiment here is not tacit, but communicable and overt. Salisbury Plain is barren of criticism, but Stonehenge will bear a discussion antiquarian, picturesque, and philosophical. In setting out on a party of pleasure, the first consideration always is where we shall go to; in taking a solitary ramble, the question is what we shall meet with by the way. "The mind is its own place;" nor are we anxious to arrive at the end of our journey. I can myself do the honours indifferently well to works of art and curiosity. I once took a party to Oxford with no mean _éclat_--showed them that seat of the Muses at a distance,

"With glistering spires and pinnacles adorn'd"--

descanted on the learned air that breathes from the grassy quadrangles and stone walls of halls and colleges--was at home in the Bodleian; and at Blenheim quite superseded the powdered Ciceroni that attended us, and that pointed, in vain with his wand to commonplace beauties in matchless pictures.--As another exception to the above reasoning, I should not feel confident in venturing on a journey in a foreign country without a companion. I should want at intervals to hear the sound of my own language. There is an involuntary antipathy in the mind of an Englishman to foreign manners and notions that requires the assistance of social sympathy to carry it off. As the distance from home increases, this relief, which was at first a luxury, becomes a passion and an appetite. A person would almost feel stifled to find himself in the deserts of Arabia without friends and countrymen: there must be allowed to be something in the view of Athens or old Rome that claims the utterance of speech; and I own that the Pyramids are too mighty for any single contemplation. In such situations, so opposite to all one's ordinary train of ideas, one seems a species by one's self, a limb torn off from society, unless one can meet with instant fellowship and support.--Yet I did not feel this want or craving very pressing once, when I first set my foot on the laughing shores of France. Calais was peopled with novelty and delight. The confused, busy murmur of the place was like oil and wine poured into my ears; nor did the mariners' hymn, which was sung from the top of an old crazy vessel in the harbour, as the sun went down, send an alien sound into my soul. I only breathed the air of general humanity. I walked over "the vine-covered hills and gay regions of France," erect and satisfied; for the image of man was not cast down and chained to the foot of arbitrary thrones: I was at no loss for language, for that of all the great schools of painting was open to me. The whole is vanished like a shade. Pictures, heroes, glory, freedom, all are fled: nothing remains but the Bourbons and the French people!--There is undoubtedly a sensation in travelling into foreign parts that is to be had nowhere else: but it is more pleasing at the time than lasting. It is too remote from our habitual associations to be a common topic of discourse or reference, and, like a dream or another state of existence, does not piece into our daily modes of life. It is an animated but a momentary hallucination. It demands an effort to exchange our actual for our ideal identity; and to feel the pulse of our old transports revive very keenly, we must "jump" all our present comforts and connections. Our romantic and itinerant character is not to be domesticated. Dr. Johnson remarked how little foreign travel added to the facilities of conversation in those who had been abroad. In fact, the time we have spent there is both delightful and in one sense instructive; but it appears to be cut out of our substantial, downright existence, and never to join kindly on to it. We are not the same, but another, and perhaps more enviable individual, all the time we are out of our own country. We are lost to ourselves, as well as our friends. So the poet somewhat quaintly sings,

"Out of my country and myself I go."

Those who wish to forget painful thoughts, do well to absent themselves for a while from the ties and objects that recall them: but we can be said only to fulfil our destiny in the place that gave us birth. I should on this account like well enough to spend the whole of my life in travelling abroad, if I could any where borrow another life to spend afterwards at home!

FOOTNOTES:

[Footnote 29: From "Table-Talk," 1821-2.]

[Footnote 30: Sancho Panza, a character in Cervantes' romance, "Don Quixote."]

[Footnote 31: Aloof, O keep aloof, ye uninitiated!]

[Footnote 32: A titbit.]

THE REGRETS OF A MOUNTAINEER[33]

LESLIE STEPHEN

I have often felt a sympathy, which almost rises to the pathetic, when looking on at a cricket-match or boat-race. Something of the emotion with which Gray regarded the "distant spires and antique towers" rises within me. It is not, indeed, that I feel very deeply for the fine ingenuous lads who, as somebody says, are about to be degraded into tricky, selfish Members of Parliament. I have seen too much of them. They are very fine animals; but they are rather too exclusively animal. The soul is apt to be in too embryonic a state within these cases of well-strung bone and muscle. It is impossible for a mere athletic machine, however finely constructed, to appeal very deeply to one's finer sentiments. I can scarcely look forward with even an affectation of sorrow for the time when, if more sophisticated, it will at least have made a nearer approach to the dignity of an intellectual being. It is not the boys who make me feel a touch of sadness; their approaching elevation to the dignity of manhood will raise them on the whole in the scale of humanity; it is the older spectators whose aspect has in it something affecting. The shaky old gentleman, who played in the days when it was decidedly less dangerous to stand up to bowling than to a cannon-ball, and who now hobbles about on rheumatic joints, by the help of a stick; the corpulent elder, who rowed when boats had gangways down their middle, and did not require as delicate a balance as an acrobat's at the top of a living pyramid--these are the persons whom I cannot see without an occasional sigh. They are really conscious that they have lost something which they can never regain; or, if they momentarily forget it, it is even more forcibly impressed upon the spectators. To see a respectable old gentleman of sixty, weighing some fifteen stone, suddenly forget a third of his weight and two-thirds of his years, and attempt to caper like a boy, is indeed a startling phenomenon. To the thoughtless, it may be simply comic; but, without being a Jaques, one may contrive also to suck some melancholy out of it.

Now, as I have never caught a cricket-ball, and, on the contrary, have caught numerous crabs in my life, the sympathy which I feel for these declining athletes is not due to any great personal interest in the matter. But I have long anticipated that a similar day would come for me, when I should no longer be able to pursue my favourite sport of mountaineering. Some day I should find that the ascent of a zigzag was as bad as a performance on the treadmill; that I could not look over a precipice without a swimming in the head; and that I could no more jump a crevasse than the Thames at Westminster. None of these things have come to pass. So far as I know, my physical powers are still equal to the ascent of Mont Blanc or the Jungfrau. But I am no less effectually debarred--it matters not how--from mountaineering. I wander at the foot of the gigantic Alps, and look up longingly to the summits, which are apparently so near, and yet know that they are divided from me by an impassable gulf. In some missionary work I have read that certain South Sea Islanders believed in a future paradise where the good should go on eating for ever with insatiable appetites at an inexhaustible banquet. They were to continue their eternal dinner in a house with open wickerwork sides; and it was to be the punishment of the damned to crawl outside in perpetual hunger and look in through the chinks as little boys look in through the windows of a London cookshop. With similar feelings I lately watched through a telescope the small black dots, which were really men, creeping up the high flanks of Mont Blanc or Monte Rosa. The eternal snows represented for me the Elysian fields, into which entrance was sternly forbidden, and I lingered about the spot with a mixture of pleasure and pain, in the envious contemplation of my more fortunate companions.

I know there are those who will receive these assertions with civil incredulity. Some persons assume that every pleasure with which they cannot sympathise is necessarily affectation, and hold, as a particular case of that doctrine, that Alpine travellers risk their lives merely from fashion or desire of notoriety. Others are kind enough to admit that there is something genuine in the passion, but put it on a level with the passion for climbing greased poles. They think it derogatory to the due dignity of Mont Blanc that he should be used as a greased pole, and assure us that the true pleasures of the Alps are those which are within reach of the old and the invalids, who can only creep about villages and along high-roads. I cannot well argue with such detractors from what I consider a noble sport. As for the first class, it is reduced almost to a question of veracity. I say that I enjoy being on the top of a mountain, or, indeed, halfway up a mountain; that climbing is a pleasure to me, and would be so if no one else climbed and no one ever heard of my climbing. They reply that they don't believe it. No more argument is possible than if I were to say that I liked eating olives, and some one asserted that I really eat them only out of affectation. My reply would be simply to go on eating olives; and I hope the reply of mountaineers will be to go on climbing Alps. The other assault is more intelligible. Our critics admit that we have a pleasure; but assert that it is a puerile pleasure--that it leads to an irreverent view of mountain beauty, and to oversight of that which should really most impress a refined and noble mind. To this I shall only make such an indirect reply as may result from a frank confession of my own regrets at giving up the climbing business--perhaps for ever. I am sinking, so to speak, from the butterfly to the caterpillar stage, and, if the creeping thing is really the highest of the two, it will appear that there is something in the substance of my lamentations unworthy of an intellectual being. Let me try. By way of preface, however, I admit that mountaineering, in my sense of the word, is a sport. It is a sport which, like fishing or shooting, brings one into contact with the sublimest aspects of nature; and, without setting their enjoyment before one as an ultimate end or aim, helps one indirectly to absorb and be penetrated by their influence. Still it is strictly a sport--as strictly as cricket, or rowing, or knurr and spell--and I have no wish to place it on a different footing. The game is won when a mountain-top is reached in spite of difficulties; it is lost when one is forced to retreat; and, whether won or lost, it calls into play a great variety of physical and intellectual energies, and gives the pleasure which always accompanies an energetic use of our faculties. Still it suffers in some degree from this undeniable characteristic, and especially from the tinge which has consequently been communicated to narratives of mountain adventures. There are two ways which have been appropriated to the description of all sporting exploits. One is to indulge in fine writing about them, to burst out in sentences which swell to paragraphs, and in paragraphs which spread over pages; to plunge into ecstasies about infinite abysses and overpowering splendours, to compare mountains to archangels lying down in eternal winding-sheets of snow, and to convert them into allegories about man's highest destinies and aspirations. This is good when it is well done. Mr. Ruskin has covered the Matterhorn, for example, with a whole web of poetical associations, in language which, to a severe taste, is perhaps a trifle too fine, though he has done it with an eloquence which his bitterest antagonists must freely acknowledge. Yet most humble writers will feel that if they try to imitate Mr. Ruskin's eloquence they will pay the penalty of becoming ridiculous. It is not every one who can with impunity compare Alps to archangels. Tall talk is luckily an object of suspicion to Englishmen, and consequently most writers, and especially those who frankly adopt the sporting view of the mountains, adopt the opposite scheme: they affect something like cynicism; they mix descriptions of scenery with allusions to fleas or to bitter beer; they shrink with the prevailing dread of Englishmen from the danger of overstepping the limits of the sublime into its proverbial opposite; and they humbly try to amuse us because they can't strike us with awe. This, too, if I may venture to say so, is good in its way and place; and it seems rather hard to these luckless writers when people assume that, because they make jokes on a mountain, they are necessarily insensible to its awful sublimities. A sense of humour is not incompatible with imaginative sensibility; and even Wordsworth might have been an equally powerful prophet of nature if he could sometimes have descended from his stilts. In short, a man may worship mountains, and yet have a quiet joke with them when he is wandering all day in their tremendous solitudes.

Joking, however, is, it must be admitted, a dangerous habit. I freely avow that, in my humble contributions to Alpine literature, I have myself made some very poor and very unseasonable witticisms. I confess my error, and only wish that I had no worse errors to confess. Still I think that the poor little jokes in which we mountaineers sometimes indulge have been made liable to rather harsh constructions. We are accused, in downright earnest, not merely of being flippant, but of an arrogant contempt for all persons whose legs are not as strong as our own. We are supposed seriously to wrap ourselves in our own conceit, and to brag intolerably of our exploits. Now I will not say that no mountaineer ever swaggers: the quality called by the vulgar "bounce" is unluckily confined to no profession. Certainly I have seen a man intolerably vain because he could raise a hundred-weight with his little finger; and I dare say that the "champion bill-poster," whose name is advertised on the walls of this metropolis, thinks excellence in bill-posting the highest virtue of a citizen. So some men may be silly enough to brag in all seriousness about mountain exploits. However, most lads of twenty learn that it is silly to give themselves airs about mere muscular eminence; and especially is this true of Alpine exploits--first, because they require less physical prowess than almost any other sport, and secondly, because a good amateur still feels himself the hopeless inferior of half the Alpine peasants whom he sees. You cannot be very conceited about a game in which the first clodhopper you meet can give you ten minutes' start in an hour. Still a man writing in a humorous vein naturally adopts a certain bumptious tone, just as our friend "Punch" ostentatiously declares himself to be omniscient and infallible. Nobody takes him at his word, or supposes that the editor of "Punch" is really the most conceited man in all England. But we poor mountaineers are occasionally fixed with our own careless talk by some outsider who is not in the secret. We know ourselves to be a small sect, and to be often laughed at; we reply by: assuming that we are the salt of the earth, and that our amusement is the first and noblest of all amusements. Our only retort to the good-humoured ridicule with which we are occasionally treated is to adopt an affected strut, and to carry it off as if we were the finest fellows in the world. We make a boast of our shame, and say, if you laugh we must crow. But we don't really mean anything: if we did, the only word which the English language would afford wherewith to describe us would be the very unpleasant antithesis to wise men, and certainly I hold that we have the average amount of common sense. When, therefore, I see us taken to task for swaggering, I think it a trifle hard that this merely playful affectation of superiority should be made a serious fault. For the future I would promise to be careful, if it were worth avoiding the misunderstanding of men who won't take a joke. Meanwhile, I can only state that when Alpine travellers indulge in a little swagger about their own performances and other people's incapacity, they don't mean more than an infinitesimal fraction of what they say, and that they know perfectly well that when history comes to pronounce a final judgment upon the men of the time, it won't put mountain-climbing on a level with patriotism, or even with excellence in the fine arts.

The reproach of real _bonâ fide_ arrogance is, so far as I know, very little true of Alpine travellers. With the exception of the necessary fringe hanging on to every set of human beings--consisting of persons whose heads are weaker than their legs--the mountaineer, so far as my experience has gone, is generally modest enough. Perhaps he sometimes flaunts his ice-axes and ropes a little too much before the public eye at Chamonix, as a yachtsman occasionally flourishes his nautical costume at Cowes; but the fault may be pardoned by those not inexorable to human weaknesses. This opinion, I know, cuts at the root of the most popular theory as to our ruling passion. If we do not climb the Alps to gain notoriety, for what purpose can we possibly climb them? That same unlucky trick of joking is taken to indicate that we don't care much about the scenery; for who, with a really susceptible soul, could be facetious under the cliffs of Jungfrau or the ghastly precipices of the Matterhorn? Hence people who kindly excuse us from the blame of notoriety-hunting generally accept the "greased-pole" theory. We are, it seems, overgrown schoolboys, who, like other schoolboys, enjoy being in dirt, and danger, and mischief, and have as much sensibility for natural beauty as the mountain mules. And against this, as a more serious complaint, I wish to make my feeble protest, in order that my lamentations on quitting the profession may not seem unworthy of a thinking being.

Let me try to recall some of the impressions which mountaineering has left with me, and see whether they throw any light upon the subject. As I gaze at the huge cliffs where I may no longer wander, I find innumerable recollections arise--some of them dim, as though belonging to a past existence; and some so brilliant that I can scarcely realise my exclusion from the scenes to which they belong. I am standing at the foot of what, to my mind, is the most glorious of all Alpine wonders--the huge Oberland precipice, on the slopes of the Faulhorn or the Wengern Alp. Innumerable tourists have done all that tourists can do to cocknify (if that is the right derivative from cockney) the scenery; but, like the Pyramids or a Gothic cathedral, it throws off the taint of vulgarity by its imperishable majesty. Even on turf strewn with sandwich-papers and empty bottles, even in the presence of hideous peasant-women singing "Stand-er auf" for five centimes, we cannot but feel the influence of Alpine beauty. When the sunlight is dying off the snows, or the full moon lighting them up with ethereal tints, even sandwich-papers and singing women may be forgotten. How does the memory of scrambles along snow arêtes, of plunges--luckily not too deep--into crevasses, of toil through long snowfields, towards a refuge that seemed to recede as we advanced--where, to quote Tennyson with due alteration, to the traveller toiling in immeasurable snow--

Sown in a wrinkle of the monstrous hill
The châlet sparkles like a grain of salt;--

how do such memories as these harmonise with the sense of superlative sublimity?

One element of mountain beauty is, we shall all admit, their vast size and steepness. That a mountain is very big, and is faced by perpendicular walls of rock, is the first thing which strikes everybody, and is the whole essence and outcome of a vast quantity of poetical description. Hence the first condition towards a due appreciation of mountain scenery is that these qualities should be impressed upon the imagination. The mere dry statement that a mountain is so many feet in vertical height above the sea, and contains so many tons of granite, is nothing. Mont Blanc, is about three miles high. What of that? Three miles is an hour's walk for a lady--an eighteen-penny cab-fare--the distance from Hyde Park Corner to the Bank--an express train could do it in three minutes, or a racehorse in five. It is a measure which we have learnt to despise, looking at it from a horizontal point of view; and accordingly most persons, on seeing the Alps for the first time, guess them to be higher, as measured in feet, than they really are. What, indeed, is the use of giving measures in feet to any but the scientific mind? Who cares whether the moon is 250,000 or 2,500,000 miles distant? Mathematicians try to impress upon us that the distance of the fixed stars is only expressible by a row of figures which stretches across a page; suppose it stretched across two or across a dozen pages, should we be any the wiser, or have, in the least degree, a clearer notion of the superlative distances? We civilly say, "Dear me!" when the astronomer looks to us for the appropriate stare, but we only say it with the mouth; internally our remark is, "You might as well have multiplied by a few more millions whilst you were about it." Even astronomers, though not a specially imaginative race, feel the impotence of figures, and try to give us some measure which the mind can grasp a little more conveniently. They tell us about the cannon-ball which might have been flying ever since the time of Adam, and not yet have reached the heavenly body, or about the stars which may not yet have become visible, though the light has been flying to us at a rate inconceivable by the mind for an inconceivable number of years; and they succeed in producing a bewildering and giddy sensation, although the numbers are too vast to admit of any accurate apprehension.

We feel a similar need in the case of mountains. Besides the bare statement of figures, it is necessary to have some means for grasping the meaning of the figures. The bare tens and thousands must be clothed with some concrete images. The statement that a mountain is 15,000 feet high is, by itself, little more impressive, than that it is 3,000; we want something more before we can mentally compare Mont Blanc and Snowdon. Indeed, the same people who guess of a mountain's height at a number of feet much exceeding the reality, show, when they are cross-examined, that they fail to appreciate in any tolerable degree the real meaning of the figures. An old lady one day, about 11 A.M., proposed to walk from the Aeggischhorn to the Jungfrau-Joch, and to return for luncheon--the distance being a good twelve hours' journey for trained mountaineers. Every detail of which the huge mass is composed is certain to be underestimated. A gentleman the other day pointed out to me a grand ice-cliff at the end of a hanging glacier, which must have been at least 100 feet high, and asked me whether that snow was three feet deep. Nothing is more common than for tourists to mistake some huge pinnacle of rock, as big as a church tower, for a traveller. The rocks of the Grands Mulets, in one corner of which the châlet is hidden, are often identified with a party ascending Mont Blanc; and I have seen boulders as big as a house pointed out confidently as chamois. People who make these blunders must evidently see the mountains as mere toys, however many feet they may give them at a random guess. Huge overhanging cliffs are to them steps within the reach of human legs; yawning crevasses are ditches to be jumped; and foaming waterfalls are like streams from penny squirts. Everyone knows the avalanches on the Jungfrau, and the curiously disproportionate appearance of the little puffs of white smoke, which are said to be the cause of the thunder; but the disproportion ceases to an eye that has learnt really to measure distance, and to know that these smoke-puffs, represent a cataract of crashing blocks of ice.

Now the first merit of mountaineering is that it enables one to have what theologians would call an experimental faith in the size of mountains--to substitute a real living belief for a dead intellectual assent. It enables one, first, to assign something like its true magnitude to a rock or snow-slope; and, secondly, to measure that magnitude in terms of muscular exertion instead of bare mathematical units. Suppose that we are standing upon the Wengern Alp; between the Mönch and the Eiger there stretches a round white bank, with a curved outline, which we may roughly compare to the back of one of Sir E. Landseer's lions. The ordinary tourists--the old man, the woman, or the cripple, who are supposed to appreciate the real beauties of Alpine scenery--may look at it comfortably from their hotel. They may see its graceful curve, the long straight lines that are ruled in delicate shading down its sides, and the contrast of the blinding white snow with the dark blue sky above; but they will probably guess it to be a mere bank--a snowdrift, perhaps, which has been piled by the last storm. If you pointed out to them one of the great rocky teeth that projected from its summit, and said that it was a guide, they would probably remark that he looked very small, and would fancy that he could jump over the bank with an effort. Now a mountaineer knows, to begin with, that it is a massive rocky rib, covered with snow, lying at a sharp angle, and varying perhaps from 500 to 1,000 feet in height. So far he might be accompanied by men of less soaring ambition; by an engineer who had been mapping the country, or an artist who had been carefully observing the mountains from their bases. They might learn in time to interpret correctly the real meaning of shapes at which the uninitiated guess at random. But the mountaineer can go a step further, and it is the next step which gives the real significance to those delicate curves and lines. He can translate the 500 or 1,000 feet of snow-slope into a more tangible unit of measurement. To him, perhaps, they recall the memory of a toilsome ascent, the sun beating on his head for five or six hours, the snow returning the glare with still more parching effect; a stalwart guide toiling all the weary time, cutting steps in hard blue ice, the fragments hissing and spinning down the long straight grooves in the frozen snow till they lost themselves in the yawning chasm below; and step after step taken along the slippery staircase, till at length he triumphantly sprang upon the summit of the tremendous wall that no human foot had scaled before. The little black knobs that rise above the edge represent for him huge impassable rocks, sinking on one side in scarped slippery surfaces towards the snow-field, and on the other stooping in one tremendous cliff to a distorted glacier thousands of feet below. The faint blue line across the upper névé, scarcely distinguishable to the eye, represents to one observer nothing but a trifling undulation; a second, perhaps, knows that it means a crevasse; the mountaineer remembers that it is the top of a huge chasm, thirty feet across, and perhaps ten times as deep, with perpendicular sides of glimmering blue ice, and fringed by thick rows of enormous pendent icicles. The marks that are scored in delicate lines, such as might be ruled by a diamond on glass, have been cut by innumerable streams trickling in hot weather from the everlasting snow, or ploughed by succeeding avalanches that have slipped from the huge upper snowfields above. In short, there is no insignificant line or mark that has not its memory or its indication of the strange phenomena of the upper world. True, the same picture is painted upon the retina of all classes of observers; and so Porson and a schoolboy and a peasant might receive the same physical impression from a set of black and white marks on the page of a Greek play; but to one they would be an incoherent conglomeration of unmeaning and capricious lines, to another they would represent certain sounds more or less corresponding to some English words; whilst to the scholar they would reveal some of the noblest poetry in the world, and all the associations of successful intellectual labour. I do not say that the difference is quite so great in the case of the mountains; still I am certain that no one can decipher the natural writing on the face of a snow-slope or a precipice who has not wandered amongst their recesses, and learnt by slow experience what is indicated by marks which an ignorant observer would scarcely notice. True, even one who sees a mountain for the first time may know that, as a matter of fact, a scar on the face of a cliff means, for example, a recent fall of a rock; but between the bare knowledge and the acquaintance with all which that knowledge implies--the thunder of the fall, the crash of the smaller fragments, the bounding energy of the descending mass--there is almost as much difference as between hearing that a battle has been fought and being present at it yourself. We have all read descriptions of Waterloo till we are sick of the subject; but I imagine that our emotions on seeing the shattered well of Hougomont are very inferior to those of one of the Guard who should revisit the place where he held out for a long day against the assaults of the French army.

Now to an old mountaineer the Oberland cliffs are full of memories; and, more than this, he has learnt the language spoken by every crag and every wave of glacier. It is strange if they do not affect him rather more powerfully than the casual visitor who has never been initiated by practical experience into their difficulties. To him, the huge buttress which runs down from the Mönch is something more than an irregular pyramid, purple with white patches at the bottom and pure white at the top. He fills up the bare outline supplied by the senses with a thousand lively images. He sees tier above tier of rock, rising in a gradually ascending scale of difficulty, covered at first by long lines of the débris that have been splintered by frost from the higher wall, and afterwards rising bare and black and threatening. He knows instinctively which of the ledges has a dangerous look--where such a bold mountaineer as John Lauener might slip on the polished surface, or be in danger of an avalanche from above. He sees the little shell-like swelling at the foot of the glacier crawling down the steep slope above, and knows that it means an almost inaccessible wall of ice; and the steep snowfields that rise towards the summit are suggestive of something very different from the picture which might have existed in the mind of a German student, who once asked me whether it was possible to make the ascent on a mule.

Hence, if mountains owe their influence upon the imagination in a great degree to their size and steepness, and apparent inaccessibility--as no one can doubt that they do, whatever may be the explanation of the fact that people like to look at big, steep, inaccessible objects--the advantages of the mountaineer are obvious. He can measure those qualities on a very different scale from the ordinary traveler. He measures the size, not by the vague abstract term of so many thousand feet, but by the hours of labour, divided into minutes--each separately felt--of strenuous muscular exertion. The steepness is not expressed in degrees, but by the memory of the sensation produced when a snow-slope seems to be rising up and smiting you in the face; when, far away from all human help, you are clinging like a fly to the slippery side of a mighty pinnacle in mid air. And as for the inaccessibility, no one can measure the difficulty of climbing a hill who has not wearied his muscles and brain in struggling against the opposing obstacles. Alpine travellers, it is said, have removed the romance from the mountains by climbing them. What they have really done is to prove that there exists a narrow line by which a way may be found to the top of any given mountain; but the clue leads through innumerable inaccessibilities; true, you can follow one path, but to right and left are cliffs which no human foot will ever tread, and whose terrors can only be realised when you are in their immediate neighbourhood. The cliffs of the Matterhorn do not bar the way to the top effectually, but it is only by forcing a passage through them that you can really appreciate their terrible significance.

Hence I say that the qualities which strike every sensitive observer are impressed upon the mountaineer with tenfold force and intensity. If he is as accessible to poetical influences as his neighbours--and I don't know why he should be less so--he has opened new avenues of access between the scenery and his mind. He has learnt a language which is but partially revealed to ordinary men. An artist is superior to an unlearned picture-seer, not merely because he has greater natural sensibility, but because he has improved it by methodical experience; because his senses have been sharpened by constant practice, till he can catch finer shades of colouring, and more delicate inflexions of line; because, also, the lines and colours have acquired new significance, and been associated with a thousand thoughts with which the mass of mankind has never cared to connect them. The mountaineer is improved by a similar process. But I know some sceptical critics will ask, does not the way in which he is accustomed to regard mountains rather deaden their poetical influence? Doesn't he come to look at them as mere instruments of sport, and overlook their more spiritual teaching? Does not all the excitement of personal adventure and the noisy apparatus of guides, and ropes, and axes, and tobacco, and the fun of climbing, rather dull his perceptions and incapacitate him from perceiving

The silence that is in the starry sky,
The sleep that is among the lonely hills?

Well, I have known some stupid and unpoetical mountaineers; and, since I have been dismounted from my favourite hobby, I think I have met some similar specimens among the humbler class of tourists. There are persons, I fancy, who "do" the Alps; who look upon the Lake of Lucerne as one more task ticked off from their memorandum book, and count up the list of summits visible from the Görnergrat without being penetrated with any keen sense of sublimity. And there are mountaineers who are capable of making a pun on the top of Mont Blanc--and capable of nothing more. Still I venture to deny that even punning is incompatible with poetry, or that those who make the pun can have no deeper feeling in their bosoms which they are perhaps too shamefaced to utter.

The fact is that that which gives its inexpressible charm to mountaineering is the incessant series of exquisite natural scenes, which are for the most part enjoyed by the mountaineer alone. This is, I am aware, a round assertion; but I will try to support it by a few of the visions which are recalled to me by these Oberland cliffs, and which I have seen profoundly enjoyed by men who perhaps never mentioned them again, and probably in describing their adventures scrupulously avoided the danger of being sentimental.

Thus every traveller has occasionally done a sunrise, and a more lamentable proceeding than the ordinary view of a sunrise can hardly be imagined. You are cold, miserable, breakfastless; have risen shivering from a warm bed, and in your heart long only to creep into bed again. To the mountaineer all this is changed. He is beginning a day full of the anticipation of a pleasant excitement. He has, perhaps, been waiting anxiously for fine weather, to try conclusions with some huge giant not yet scaled. He moves out with something of the feeling with which a soldier goes to the assault of a fortress, but without the same probability of coming home in fragments; the danger is trifling enough to be merely exhilatory, and to give a pleasant tension to the nerves; his muscles feel firm and springy, and his stomach--no small advantage to the enjoyment of scenery--is in excellent order. He looks at the sparkling stars with keen satisfaction, prepared to enjoy a fine sunrise with all his faculties at their best, and with the added pleasure of a good omen for his day's work. Then a huge dark mass begins to mould itself slowly out of the darkness, the sky begins to form a background of deep purple, against which the outline becomes gradually more definite; one by one, the peaks catch the exquisite Alpine glow, lighting up in rapid succession, like a vast illumination; and when at last the steady sunlight settles upon them, and shows every rock and glacier, without even a delicate film of mist to obscure them, he feels his heart bound, and steps out gaily to the assault--just as the people on the Rigi are giving thanks that the show is over and that they may go to bed. Still grander is the sight when the mountaineer has already reached some lofty ridge, and, as the sun rises, stands between the day and the night--the valley still in deep sleep, with the mists lying between the folds of the hills, and the snow-peaks standing out clear and pale white just before the sun reaches them, whilst a broad band of orange light runs all round the vast horizon. The glory of sunsets is equally increased in the thin upper air. The grandest of all such sights that live in my memory is that of a sunset from the Aiguille du Goûté. The snow at our feet was glowing with rich light, and the shadows in our footsteps a vivid green by the contrast. Beneath us was a vast horizontal floor of thin level mists suspended in mid air, spread like a canopy over the whole boundless landscape, and tinged with every hue of sunset. Through its rents and gaps we could see the lower mountains, the distant plains, and a fragment of the Lake of Geneva lying in a more sober purple. Above us rose the solemn mass of Mont Blanc in the richest glow of an Alpine sunset. The sense of lonely sublimity was almost oppressive, and although half our party was suffering from sickness, I believe even the guides were moved to a sense of solemn beauty.

These grand scenic effects are occasionally seen by ordinary travellers, though the ordinary traveller is for the most part out of temper at 3 A.M. The mountaineer can enjoy them, both because his frame of mind is properly trained to receive the natural beauty, and because he alone sees them with their best accessories, amidst the silence of the eternal snow, and the vast panoramas visible from the loftier summits. And he has a similar advantage in most of the great natural phenomena of the cloud and the sunshine. No sight in the Alps is more impressive than the huge rocks of a black precipice suddenly frowning out through the chasms of a storm-cloud. But grand as such a sight may be from the safe verandahs of the inn at Grindelwald, it is far grander in the silence of the Central Alps amongst the savage wilderness of rock and snow. Another characteristic effect of the High Alps often presents itself when one has been climbing for two or three hours, with nothing in sight but the varying wreaths of mist that chased each other monotonously along the rocky ribs up whose snow-covered backbone we were laboriously fighting our way. Suddenly there is a puff of wind, and looking round we find that we have in an instant pierced the clouds, and emerged, as it were, on the surface of the ocean of vapour. Beneath us stretches for hundreds of miles the level fleecy floor, and above us shines out clear in the eternal sunshine every mountain, from Mont Blanc to Monte Rosa and the Jungfrau. What, again, in the lower regions, can equal the mysterious charm of gazing from the edge of a torn rocky parapet into an apparently fathomless abyss, where nothing but what an Alpine traveller calls a "strange formless wreathing of vapour" indicates the storm-wind that is raging below us? I might go on indefinitely recalling the strangely impressive scenes that frequently startle the traveller in the waste upper world; but language is feeble indeed to convey even a glimmering of what is to be seen to those who have not seen it for themselves, whilst to them it can be little more than a peg upon which to hang their own recollections. These glories, in which the mountain Spirit reveals himself to his true worshippers, are only to be gained by the appropriate service of climbing--at some risk, though a very trifling risk, if he is approached with due form and ceremony--into the furthest recesses of his shrines. And without seeing them, I maintain that no man has really seen the Alps.

The difference between the exoteric and the esoteric school of mountaineers may be indicated by their different view of glaciers. At Grindelwald, for example, it is the fashion to go and "see the glaciers"--heaven save the mark! Ladies in costumes, heavy German professors, Americans doing the Alps at a gallop, Cook's tourists, and other varieties of a well-known genus, go off in shoals and see--what? A gigantic mass of ice, strangely torn with a few of the exquisite blue crevasses, but denied and prostrate in dirt and ruins. A stream foul with mud oozes out from the base; the whole mass seems to be melting fast away; the summer sun has evidently got the best of it in these lower regions, and nothing can resist him but the great mounds of decaying rock that strew the surface in confused lumps. It is as much like the glacier of the upper regions as the melting fragments of snow in a London street are like the surface of the fresh snow that has just fallen in a country field. And by way of improving its attractions a perpetual picnic is going on, and the ingenious natives have hewed a tunnel into the ice, for admission to which they charge certain centimes. The unlucky glacier reminds me at his latter end of a wretched whale stranded on a beach, dissolving into masses of blubber, and hacked by remorseless fishermen, instead of plunging at his ease in the deep blue water. Far above, where the glacier begins his course, he is seen only by the true mountaineer. There are vast amphitheatres of pure snow, of which the glacier known to tourists is merely the insignificant drainage, but whose very existence they do not generally suspect. They are utterly ignorant that from the top of the icefall which they visit you may walk for hours on the eternal ice. After a long climb you come to the region where the glacier is truly at its noblest; where the surface is a spotless white; where the crevasses are enormous rents sinking to profound depths, with walls of the purest blue; where the glacier is torn and shattered by the energetic forces which mould it, but has an expression of superabundant power, like a full stream fretting against its banks and plunging through the vast gorges that it has hewn for itself in the course of centuries. The bases of the mountains are immersed in a deluge of cockneyism--fortunately a shallow deluge--whilst their summits rise high into the bracing air, where everything is pure and poetical.

The difference which I have thus endeavoured to indicate is more or less traceable in a wider sense. The mountains are exquisitely beautiful, indeed, from whatever points of view we contemplate them; and the mountaineer would lose much if he never saw the beauties of the lower valleys, of pasturages deep in flowers, and dark pine-forests with the summits shining from far off between the stems. Only, as it seems to me, he has the exclusive prerogative of thoroughly enjoying one--and that the most characteristic, though by no means only, element of the scenery. There may be a very good dinner spread before twenty people; but if nineteen of them were teetotalers, and the twentieth drank his wine like a man, he would be the only one to do it full justice; the others might praise the meat or the fruits, but he would alone enjoy the champagne; and in the great feast which Nature spreads before us (a stock metaphor, which emboldens me to make the comparison), the high mountain scenery acts the part of the champagne. Unluckily, too, the teetotalers are very apt, in this case also, to sit in judgment upon their more adventurous neighbours. Especially are they pleased to carp at the views from high summits. I have been constantly asked, with a covert sneer, "Did it repay you?"--a question which involves the assumption that one wants to be repaid, as though the labour were not itself part of the pleasure, and which implies a doubt that the view is really enjoyable. People are always demonstrating that the lower views are the most beautiful; and at the same time complaining that mountaineers frequently turn back without looking at the view from the top, as though that would necessarily imply that they cared nothing for scenery. In opposition to which I must first remark that, as a rule, every step of an ascent has a beauty of its own, which one is quietly absorbing even when one is not directly making it a subject of contemplation, and that the view from the top is generally the crowning glory of the whole.