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.