I belong to the great and mystic brotherhood of mountain worshippers. We are a motley crowd drawn from all lands and all ages, and we are certainly a peculiar people. The sight and smell of the mountain affect us like nothing else on earth. In some of us they arouse excessive physical energy and lust of conquest in a manner not unlike that which suggests itself to the terrier at the sight of a rat. We must master the heights above, and we become slaves to the climbing impulse, itinerant purveyors of untold energy, marking the events of our lives on peaks and passes. We may merit to the full Ruskin's scathing indictment of those who look upon the Alps as soaped poles in a bear-garden which we set ourselves “to climb and slide down again with shrieks of delight,” we may become top-fanatics and record-breakers, “red with cutaneous eruption of conceit,” but we are happy with a happiness which passeth the understanding of the poor people in the plains.

Others experience no acceleration of physical energy, but a strange rousing of all their mental faculties. Prosaic, they become poetical—the poetry may be unutterable, but it is there; commonplace, they become eccentric; severely practical, they become dreamers and loiterers upon the hillside. The sea, the wood, the meadow cannot compete with the mountain in egging on the mind of man to incredible efforts of expression. The songs, the rhapsodies, the poems, the Æsthetic ravings of mountain worshippers have a dionysian flavour which no other scenery can impart.

Yesterday I left the turmoil of a conference in Geneva and reached home amongst my delectable mountains. I took train for the foot of the hills and climbed for many hours through drifts of snow. This morning I have been deliciously mad. First I greeted the sun from my open chalet window as it rose over the range on my left and lit up the great glacier before me, throwing the distant hills into a glorious dream-world of blue and purple. Then I plunged into the huge drifts of clean snow which the wind had piled up outside my door. I laughed with joy as I breathed the pure air, laden with the scent of pines and the diamond-dust of snow. I never was more alive, the earth was never more beautiful, the heavens were never nearer than they are to-day. Who says we are prisoners of darkness? Who says we are puppets of the devil? Who says God must only be worshipped in creeds and churches? Here are the glories of the mountains, beauty divine, peace perfect, power unfathomable, love inexhaustible, a never failing source of hope and light for our struggling human race. I am vaguely aware of the unreasonableness of my delirium of mountain joy, but I revel in it. And I sing with Sir Lewis Morris—

The emotions engendered by mountain scenery defy analysis. They may be classified and labelled, but not explained. I turn to my library of books by mountain-lovers —climbers, artists, poets, scientists. Though we are solitaries in our communion with the Deity, though we worship in great spaces of solitude and silence and seek rejuvenescence in utter human loneliness, we do not despise counsels of sympathy and approval. The strife rewarded, the ascent accomplished, we are profoundly grateful for the yodel of human fellowship. And—let me whisper it in confidence—we do not despise the cooking-pots. For the mountains have a curious way of lifting you up to the uttermost confines of the spirit and then letting you down to the lowest dominions of the flesh.

“Examine the nature of your own emotion (if you feel it) at the sight of the Alps,” says Ruskin, “and you find all the brightness of that emotion hanging like dew on a gossamer, on a curious web of subtle fancy and imperfect knowledge.” Such a result of our examination would but add to our confusion. Ruskin's mind was so permeated with adoration of mountain scenery that his attempts at cool analysis of his own sensations failed, as would those of a priest who, worshipping before the altar, tried at the same time to give an analytical account of his state of mind. Ruskin is the stern high priest of the worshippers of mountains; to him they are cathedrals designed by their glory and their gloom to lift humanity out of its baser self into the realization of high destinies. The fourth volume of Modern Painters was the fount of inspiration from which Leslie Stephen and the early members of the Alpine Club drank their first draughts of mountaineering enthusiasm. But the disciples never reached the heights of the teacher. Listen to the exposition by the Master of the services appointed to the hills:

“To fill the thirst of the human heart for the beauty of God's working—to startle its lethargy with a deep and pure agitation of astonishment—are their higher missions. They are as a great and noble architecture, first giving shelter, comfort, and rest; and covered also with mighty sculpture and painted legend.”

There is a solemn stateliness about Ruskin's descriptions of the mountains, which in the last passage of the chapter on The Mountain Gloom rises to the impassioned cadences of the prophet.

He could tolerate no irreverent spirits in the sanctuary of the mountain. Leslie Stephen's remark that the Alps were improved by tobacco smoke became a profanity. One shudders at the thought of the reprimand which Stevenson would have drawn down upon himself had his flippant messages from the Alps come before that austere critic. In a letter to Charles Baxter, Stevenson complained of how “rotten” he had been feeling “alone with my weasel-dog and my German maid, on the top of a hill here, heavy mist and thin snow all about me and the devil to pay in general.” And worse still are the lines sent to a friend—

The soul of Ruskin was born and fashioned for the mountains. His first visit to Switzerland in 1833 brought him to “the Gates of the Hills—opening for me a new life—to cease no more except at the Gates of the Hills whence one returns not. It is not possible to imagine,” he adds of his first sight of the Alps, “in any time of the world a more blessed entrance into life for a child of such temperament as mine.... I went down that evening from the garden terrace of Schaffhausen with my devotion fixed in all of it that was to be sacred and useful.” [1]

That profound stirring of the depths of the soul which Ruskin avowed as the impetus to his life's work is only possible when the mind is fired by a devotion to the mountains which brooks no rival. “For, to myself, mountains are the beginning and the end of all natural scenery,” he wrote in The Mountain Glory; “in them, and in the forms of inferior landscape that lead to them, my affections are wholly bound up.” And he completely and forever reversed Dante's dismal conception of scenery befitting souls in purgatory by saying that “the best image which the world can give of Paradise is in the slope of the meadows, orchards, and cornfields on the sides of a great Alp, with its purple rocks and eternal snows above.”

No lover of mountains has approached Ruskin in intensity of veneration. Emile Javelle is not far away. Javelle climbed as by a religious impulse; his imagination was filled by Alpine shapes; he, like Ruskin, had forfeited his heart to the invisible snow-maiden that dwells above the clouds. When Javelle was a child his uncle showed him a collection of plants, and amongst them the “Androsace ... rochers du Mont Blanc.” This roused the desire to climb; the faded bit of moss with the portion of earth still clinging to the roots became a sacred relic beckoning him to the shrine of the white mountain. In the same way Ruskin, mature and didactic, yet withal so beautifully childlike, tells us “that a wild bit of ferny ground under a fir or two, looking as if possibly one might see a hill if one got to the other side, will instantly give me intense delight because the shadow, the hope of the hills is in them.” Both lovers showed the same disdain of the mere climber. Javelle's Alpine memories record his sense of aloofness from the general type of member of the Alpine Club.

Whilst Ruskin's communion with the mountains found an outlet in prolific literary output, and a system of art and ethics destined to leaven the mass of human thought, the infinitude and grandeur of mountain scenery had a dispersive effect on Javelle's mind. I can so well understand him. He wandered over the chain of Valais—my mountains (each worshipper has his special idols)—the Dent du Midi, the Vaudois Alps, and the Bernese Oberland in search of beauty, more and more beauty. He ascended peak after peak, attracted by an irresistible force, permeated by a desire for new points of view, forgetful of the haunts of men.

And when, between times, Javelle tried to write a book, a great and learned book on rhetoric, he could never finish it. For seven years he laboured at preparing it, collecting notes, seeking corroborative evidence. His Alpine climbing had taught him the elusiveness of isolated peaks of knowledge. He saw that rhetoric is dependent on Æsthetics and Æsthetics on psychology and sociology and philosophy, and all on anthropology; that there are no frontiers and no finality and no knowledge which is not relative and imperfect. It was all a question of different tops and points of view, and so the book was not finished when he died, still in search of the super-mountain of the widest and largest view, still crying out his motto, “Onward, higher and higher still! You must reach the top!”

Beware, O fellow mountaineers, of such ambitions. For that way madness lies. I know the lure and the shock. As I write this I sit gazing across the valley upon the mountain on my right. It is known by the name of the Black Head; it has a sombre shape, it has never been known to smile. It towers above me with a cone-shaped top, a figure of might and dominion. For a dozen years it has checked my tendency to idealistic flights by reminding me of the inexorable laws of Nature. It is true it does not conceal the smiling glacier in front of me, with its ceaseless play of light and shadow, colour and form, but it arrests the fancy by its massive immovability. And yet, when I leave my little abode of bliss and wander forth into the heights above (ah, humiliation that there should be heights above), I find my black top subjected to a process of shrinking. As I reach the top it ignominiously permits itself to be flattened out to a mere ridge without a head, a Lilliputian hill bemoaning its own insignificance.

Such are the illusions of the mountain play. Yet the climb and the heights have ever served man as a symbol of the search for certainty. Lecky invokes the heights as the only safe place from which to view history and discover the great permanent forces through which nations are moved to improvement or decay. Schopenhauer compares philosophy to an Alpine road, often bringing the wanderer to the edge of the chasm, but rewarding him as he ascends with oblivion of the discords and irregularities of the world. Nietzsche's wisdom becomes pregnant upon lonely mountains; he claims that whosoever seeks to enter into this wisdom “must be accustomed to live on mountain-tops and see beneath him the wretched ephemeral gossip of politics and national egoism.”

But the mountain-tops make sport of the certainties of philosophers as well as of those of fools. The safest plan is to ascend them without too heavy an encumbrance of theories. You may then meet fairies and goblins who beckon you to the caves of mystery, you may stray into the hills of Arcadia and meet Pan himself. “Sweet the piping of him who sat upon the rocks and fluted to the morning sea.” You may even find yourself on Olympus, the mount of a thousand folds, listening to the everlasting assault upon the Gods by the Titans, sons of strife. And if you are very patient you may witness Zeus, the lightning-gatherer, pierce the black clouds and rend the sky, illuminating hill and vale with the fierce light which makes even the battle of Troy intelligible.

You may bathe your soul in that Natura Maligna which only reveals its blessings to pagans and poets. Byron is the chosen bard of the destructive might of the mountains—

He had the nature-mystic's thirst for a touch of the untamed power of Nature, for communion with the magnificence of death, shaking the mountain with wind and falling snow, with leaping rock and earth-eating torrent. Such would fain die that they may experience the joys of being possessed by Nature. For they have entered on the marriage of life and death, heaven and hell, and out of the roaring cataclysm of destruction they rise winged with a new life.

Whilst the poets chant the awful power of the distant mountain, Byron comes to us out of the mountain, fashioned by its force, intoxicated by the wine of its wild life. Mountain climbers meet with strange and unexpected bedfellows in the course of their wanderings. In his cry for the baptism of the wild winds of the mountain, Matthew Arnold approaches Byron closely—

Shelley sings exquisitely of its grandeur, its ceaseless motion; he voices the wonderment of man before the complex problem of Mont Blanc. But his mind has never participated in the revels on the mountain, he has not lost and barely recovered his soul in adventurous crevasses. He retains something of the old horror of the desolate heights—

There is a trace of the same awe in Coleridge's deathless hymn to Mont Blanc—

Nearly all the poets have been moved by the primitive sense of their awe-commanding power. Wordsworth never forgets the blackness, though he is, above all, the bard of mountain light and sweetness, of warbling birds and maiden's haycocks. The poet does not lose the blessed gift of wonder possessed by children and savages. And nothing in Nature can startle the mind like the sight of a mighty range of mountains. They recall primitive feelings of fear before the great unknown, they tower above the human form with a colossal imperturbability which withers our importance and confuses our standards of value. Victor Hugo never quite freed himself from the mediÆval dread of the mountains or the mediÆval speculation on their meaning. His letters to his wife from the Alps and Pyrenees record his impressions with a painstaking and detailed accuracy which does not forget the black-and-yellow spider performing somersaults on an imperceptible thread hung from one brier to another. The emotion after an hour on the Rigi-Kulm “is immense.” “The tourist comes here to get a point of view; the thinker finds here an immense book in which each rock is a letter, each lake is a phrase, each village is an accent; from it arise, like a smoke, two thousand years of memories.”

Here speaks the true panoramic man, the man whose mind attains to fulness of expression on mountain-tops from which the whole landscape of life may be contemplated. And yet he notes the “ominous configuration of Mount Pilatus” and its terrible form, and writes of adjoining mountains as “these hump-backed, goitred giants crouching around me in the darkness.” The Rigi appears as “a dark and monstrous perpendicular wall.”

His mind is occupied with the presence of idiots in the Alps. He finds an explanation: “It is not granted to all intelligences to co-habit with such marvels and to keep from morning till evening without intoxication and without stupor, turning a visual radius of fifty leagues across the earth around a circumference of three hundred.” On the Rigi his musings on the magnificence of the view are checked by the presence of a cretin. Behold the contrast! An idiot with a goitre and an enormous face, a blank stare, and a stupid laugh is sole participator with Victor Hugo in this “marvellous festival of the mountains.”

“Oh! abysm!” he cries; “the Alps were the spectacle, the spectator was an idiot! I forgot myself in this frightful antithesis: man face to face with nature; Nature in her superbest aspect, man in his most miserable debasement. What could be the significance of this mysterious contrast? What was the sense of this irony in a solitude? Have I the right to believe that the landscape was designed for him—the cretin, and the irony for me—the chance visitor?”

The idiot and the mountain shared, no doubt, a supreme indifference to the commotion which their proximity had set up in the poet's mind. With his love of antithesis Hugo had seized the picture of the glories of the mountain wasting themselves before the gaze of the senseless idiot. Apart from geographical conditions and hygienic defects there is an interesting Æsthetic problem connected with the presence of idiots in the mountains. It is not only the idiot who is indifferent to the beauties of the Alps; the sane and healthy peasant whose eyes wander over the glaciers and snow-fields as he rests for a few minutes from hoeing his potatoes is not moved by the sight to ecstatic delight.

I have many dear friends amongst peasants. They are richly endowed with common sense and kindness of heart; their brains can compete favourably with those of the folk of any other country. Their hard struggle with a rebellious soil has given them a quiet determination and tenacity of purpose which are the root of Alpine enterprise and resourcefulness. They possess character and independence in a high degree—mental reflexes of the peaks of freedom, ever before their eyes. But they, children of the mountain, born and bred amidst its beauties, are surprisingly insensitive to beauty.

I remember one exquisite sunset—one of those superlative sunsets that burn themselves into the consciousness with a joy akin to pain, and of which only a few are allotted to each human life. I stood watching the sinking sun throw a crimson net over the snow mountains as the shadow of night crept slowly up the hillside. The sky took on an opal light in which were merged and transcended all the colours of the day. Every pinnacle and rock was lit up as by a heavenly fire, the pines were outlined like black sentinels against the sky, guardians of that merciful green life from which we spring and to which we return. My old friend the goat-herd and daily messenger from the highest pastures stood beside me. “Beautiful, Pierre,” I said, “and in this you have lived all your life.”

“Yes,” he said, slowly shifting the pipe from the left side of his mouth to the right; “the cheese is fat and good in the mountains, and the milk is not poisonous as it is in the plains, but it is hard work for the back to carry it down twice a day.” He looked at me as if searching for better understanding. “But I will tell you something nice,” he added, by way of stirring up my sluggish imagination; “the little brown cow has calved, and this autumn we are going to kill the old cow, and we shall have good meat all the winter.”

Far be it from me to join in the thoughtless generalizations about the obtuseness of the Alpine peasant which have disfigured some of the literature of climbing. These climbers have shown infinitely greater obtuseness before Alpine realities than the peasants derided by them. True, a star may compete in vain with a cheese in suggesting visions of joy, but our supercilious climbers forget that their admiration of nature's marvels is generally built up on a substratum of cheese—or the equivalent of cheese—plentifully supplied by the labour of others. There is another class of climbers who idealize the peasant and the guide, and who write of Alpine peasant-life as if it were nothing but a series of perilous ascents nobly undertaken for the advancement of humanity.

I can understand the indifference of the peasant to the visions around him. After a hard day's scything or woodcutting on slopes so steep that the resistance of one's hob-nailed boots seems like that of soft soap, I have felt profoundly healthy and ready to go to bed without listening to any lyrics on the Alps. And even the thought of Tennyson's “awful rose of dawn” would not have roused me before the labour of the next day.

But we—how proud I am of that “we”!—who have chosen hard labour on the mountain know something which the mere visitors (though they be members of many Alpine Clubs) know not. We have a sense of home which no other habitation can impart—a passionate love of the soil, a unity with the little patch that is our own, bringing joys undimmed by any descriptions of other-worldly possessions. Our trees may be wrecked by an avalanche, our garden plot may be obliterated by a land slip; the stone walls we build up in defiance of the snow are always pulled down by mountain sprites. Our agriculture is precarious, and every carrot is bought by the sweat of our brow. The struggle keeps pace with our love—there is a tenfold sweetness in the fruit we reap. And when fate compels us to leave our mountains we are pursued by restlessness. We know no peace, no home elsewhere. We do assume the airs of Victor Hugo's cretin when we are placed face to face with the riches of Croesus or the splendours of Pharaoh.

We must reluctantly admit that the phenomenon of cold indifference to mountain scenery may occur without any corresponding degree of idiocy. In the Playground of Europe, Leslie Stephen told us that a man who preserves a stolid indifference in face of mountain beauty must be of the “essentially pachydermatous order.” He commented at length on the peculiar temperament of those who have expressed dislike of his perfect playground—Chateaubriand, Johnson, Addison, Bishop Berkeley. Bishop Berkeley, who crossed Mont Cenis on New Year's Day 1714, complained that he was “put out of humour by the most horrible precipices.” There is huge comfort to be drawn from Stephen's pages descriptive of the “simple-minded abhorrence of mountains,” and from his categorical declaration that love of the sublime shapes of the Alps springs from “a delicate and cultivated taste.” But we are puzzled by the presence outside the pale of some who cannot rightly be called “pachydermatous.” I am turning over the pages of Sarah Bernhardt's autobiographical revelations. “I adore the sea and the plain,” she writes, “but I neither care for mountains nor for forests. Mountains seem to crush me, and forests to stifle me.” Strange that the high priestess of expression, the interpreter of every phase of human passion and sorrow, she who dies terribly twice a day, and mercilessly conducts us to the attenuated air and dizzy heights of intense emotion, should feel no kinship with the mountains. It may be that they are antagonistic to the fine arts of simulation and will brook no companionship of feeling that is not real. And her stage-worn heart is certainly not in alliance with Fiona Macleod's Lonely Hunter.

We might assume that the traditional wildness of the great tragedienne would have found a chord of sympathy in the avalanche or in the fierce torrent breaking over the rocks. Rousseau's hysteria and wild assaults on the conventions of Society and literature have been traced to the mountains. Lord Morley emphasizes that Rousseau “required torrents, rocks, dark forests, mountains, and precipices,” and that no plains, however beautiful, ever seemed so in his eyes. There is naturally a complete divergence of opinion between lovers and haters of mountains as to their effect on the literary mind. We like to associate peaks of genius with peaks of granite. Ruskin found fault with Shakespeare's lack of impression from a more sublime country as shown by the sacrilegious lines—

There are anomalies in the capacity for Æsthetic enjoyment of mountain scenery which exclude some minds which we should expect to find amongst the devotees and include others for whom we might look amongst the scoffers. Dickens was profoundly affected by the mountain-presence. His letters show the true rapture. Of the scenery of the St. Gothard he writes: “Oh God! what a beautiful country it is. How poor and shrunken, beside it, is Italy in its brightest aspect!” He sees “places of terrible grandeur unsurpassable, I should imagine, in the world.” Going up the Col de Balme, he finds the wonders “above and beyond one's wildest expectations.” He cannot imagine anything in nature “more stupendous or sublime.” His impressions are so prodigious that he would rave were he to write about them. At the hospice of the Great St. Bernard he awakes, believing for a moment that he had “died in the night and passed into the unknown world.” Tyndall's scientific ballast cannot keep him from soaring in a similar manner. His Glaciers of the Alps contains some highly strung sentences of delight. “Surely,” he writes of sunset seen near the Jungfrau, “if beauty be an object of worship, these glorious mountains with rounded shoulders of the purest white, snow-crested, and star-gemmed, were well calculated to excite sentiments of adoration.” His wealth of words increases with the splendour of the views in which he revels; he becomes a poet in prose, he calls up symbol and simile, he strains language to express the inexpressible. The sky of the mountain is “rosy violet,” which blends with “the deep zenithal blue”; it wears “a strange and supernatural air”; he sees clear spaces of amber and ethereal green; the blue light in the cave of the glacier presents an aspect of “magical beauty.” There is true worship of the idol in the following lines descriptive of sunrise on Mont Blanc:

Tyndall holds the mastership of polychromatic description of the beauties of the mountain; he makes us feel his own response to their call to the depths of Æsthetic perception in the human soul. Words gush forth from him in a fervour of gratitude for the pleasures of the eye. He may measure and weigh, he may set out as an emissary of cold scientific investigation: he returns hot with admiration and raving of the marvels of God upon the hills. But even he reaches a point where the realization of the utter inadequacy of expression paralyses the desire to convey the emotion to others. “I was absolutely struck dumb by the extraordinary majesty of this scene,” he writes of one evening, “and watched it silently till the red light faded from the highest summits.”

Verestchagin astonished his wife by painting his studies of snow in the Himalayas at an altitude of 14,000 feet, tormented by hunger and thirst and supported by two coolies, who held him on each side. She had the pluck and the endurance to follow him on his long climbs, but being a less exalted mortal, her sense of fitness was unduly strained by the intensity of Verestchagin's devotion to clouds and mountain-tops. “His face is so frightfully swollen,” she tells us, “that his eyes look merely like two wrinkles, the sun scorches his head, his hand can scarcely hold the palette, and yet he insists on finishing his sketches. I cannot imagine,” she reflects, “how Verestchagin could make such studies.” There were, nevertheless, occasions when the inaction, following on intense Æsthetic emotion, stayed Verestchagin's busy brush. One day, relates Madame Verestchagin, he went out to sketch the sunset:

As I read these lines I find myself wondering how many paint-boxes have been shut up by the sight of the mountains. I know many have been opened, and, amongst these, not a few which might have served humanity better by remaining shut. But we may safely assume that despite the general tendency of mountain worshippers to attempt to paint—in colours strong and language divine—the effect on their minds, there are exceptional instances of noble and self-imposed dumbness. Not the dumbness which is practising the old device of—

but a genuine silence of humility before the mysteries of nature. We sigh in vain for a glimpse of these exceptional souls. They resist our best climbing qualifications and are as inaccessible as the mists above our highest tops. And we prefer, naturally, our talking companions, those who shrink not from the task of ready interpretation.

“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:

She beholds the moon pale and the summit of the Jungfrau glitter in “a thousand prismatic colours” from the rising sun:

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:

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:

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 do they climb? The motives are many—the result joy. Yes, joy, even in the providential escapes and the “bad five minutes,” beloved by our naÏve scribes of the ice-axe, in the perils and death which they court for the sake of adventure and exploration. Sir Martin Conway speaks of the systematic climber as the man for whom climbing takes the place of fishing and shooting. How depressingly banal! Yet Sir Martin Conway has written some of the finest tributes to the glories of the Alps, and has shown himself a master of artistic interpretation of their wealth of beauty. Whymper excels in matter-of-fact history of climbs, yet there is an undercurrent of reverence for the mysteries of Nature's beauty.

The expert cragsman climbs to attain acrobatic efficiency, and may aim at nothing higher than inspired legs. Mrs. Peck climbed to establish the equality of the sexes. Mr. and Mrs. Bullock Workman climbed in the Himalayas with strong determination to name a mountain Mount Bullock Workman. They did, and the mountain, which attains 19,450 feet, is none the worse. Climbers are exceedingly human in their love of getting to the top before fellow-climbers. Here they follow the ordinary rules for human conduct in commerce, politics, and literature. There have been some loud and unseemly quarrels as to honours and fame attendant on the first successful conquest of a desirable peak. It has been generally held that if you cannot get a mountain to yourself you can at any rate devise a new route. But I cannot bring myself to speak harshly of such failings. The utmost I will say is that it were better if such enthusiasm were tempered with a little humour.

Mark Twain saw through that deadly seriousness of the pure climber. He saw the fatuity of mere peak-hunting. It impressed him strongly even on the Rigi-Kulm. “We climbed and climbed,” he writes in A Tramp Abroad, “and we kept on climbing; we reached about forty summits: there was always another one just ahead.”

But the pure climber is always a fountain of delight, even though he does not see himself as others see him. The pages of Conway, Mummery, Sir Claud Schuster, and Bruce abound in gems of nature-lore, ever fresh and ever alluring. As I search for more self-revelation in my books by mountain-lovers, I find myself observed through the window. It is only a cow on her way to the hollow tree into which the water courses out of the earth. But the cow brings me back to the strenuous Alpine life, and I find myself concluding, as I replace the books on their shelves, that I do not care why men climb so long as they climb in spirit and body.