But the mountains—how shall I give you the least idea of them? Old, sombre, haggard genii, half veiled in clouds, belted with pines, worn and furrowed with storms and avalanches, but not as yet crowned with snow. For many miles after leaving Geneva, the Mole is the principal object; its blue-black outline veering and shifting, taking on a thousand strange varieties of form as you approach it, others again as you recede.
It is a cloudy day; and heavy volumes of vapor are wreathing and unwreathing themselves around the gaunt forms of the everlasting rocks, like human reasonings, desires, and hopes around the ghastly realities of life and death; graceful, undulating, and sometimes gleaming out in silver or rosy wreaths. Still, they are nothing but mist; the dread realities are just where they were before. It is odd, though, to look at these cloud caperings; quite as interesting, in its way, as to read new systems of transcendental philosophy, and perhaps quite as profitable. Yonder is a great, whiteheaded cloud, slowly unrolling himself in the bosom of a black pine forest. Across the other side of the road a huge granite cliff has picked up a bit of gauzy silver, which he is winding round his scraggy neck. And now, here comes a cascade right over our heads; a cascade, not of water, but of cloud; for the poor little brook that makes it faints away before it gets down to us; it falls like a shimmer of moonlight, or a shower of powdered silver, while a tremulous rainbow appears at uncertain intervals, like a half-seen spirit.
[Illustration: of waterfalls.]
The cascade here, as in mountains generally, is a never-failing source of life and variety. Water, joyous, buoyant son of Nature, is calling to you, leaping, sparkling, mocking at you between bushes, and singing as he goes down the dells. A thousand little pictures he makes among the rocks as he goes; like the little sketch which I send you.
Then, the bizarre outline of the rocks; well does Goethe call them "the giant-snouted crags;" and as the diligence winds slowly on, they seem to lean, and turn, and bend. Now they close up like a wall in front, now open in piny and cloudy vistas: now they embrace the torrent in their great, black arms; and now, flashing laughter and babbling defiance through rifted rocks and uprooted pines, the torrent shoots past them, down into some fathomless abyss. These old Alp mothers cannot hold their offspring back from abysses any better than poor earth mothers.
There are phases in nature which correspond to every phase of human thought and emotion; and this stern, cloudy scenery answers to the melancholy fatalism of Greek tragedy, or the kindred mournfulness of the Book of Job.
These dark channelled rocks, worn, as with eternal tears,—these traces, so evident of ancient and vast desolations,—suggest the idea of boundless power and inexorable will, before whose course the most vehement of human feelings are as the fine spray of the cataract.
"For, surely, the mountain, falling, cometh to nought;
The rock is remored out of his place;
The waters wear the stones;
Thou washest away the things that grow out of the earth,
And thou destroyest the hopes of man;
Thou prevailest against him, and he passeth;
Thou changest his countenance, and sendest him away."
The sceptical inquirer into the mysteries of eternal things might here, if ever, feel the solemn irony of Eliphaz the Temanite:—
"Should a wise man utter vain knowledge?
Should he reason with unprofitable talk?
Or with speeches that can do no good?
Art thou the first man that ever was born?
Or wast thou made before the hills?"