Thursday, February 7, 2019

A king among alpinists

Arnold Lunn's memories of a king who led from the front, in war and in peace

King Albert I
(photo: Wikipedia)
Albert I (1875-1934) reigned as King of the Belgians from 1909 to 1934. Throughout the first world war, the King and Queen were more often in than out of the front-line trenches, and were never out of range of enemy guns. A passionate alpinist in his leisure hours, King Albert died while soloing a cliff climb in eastern Belgium in 1934. What follows is from a personal memoir by alpine ski pioneer Arnold Lunn:

"I will not be deprived of my rights as a citizen because I happen to be a King," was a favourite saying of his. As a king, his life was so precious to his country that his advisers made every effort to keep him out of the trenches in war and away from the mountains in peace. But the King refused to be deprived of the right to which, as a citizen of Belgium, he was entitled, the right to imperil his life as and when he pleased.

To the King mountaineering was not mountain travel, but a duel between man and mountain. It is, of course, the determination to preserve the reality of that contest which is responsible for all new developments in mountaineering. The King sought out the climbs which tested him to the limit of his capacity, knowing well that this involved definite risks, since no man can measure himself fully against the mountains without peril.

He climbed a great deal alone among the small but difficult rock peaks which are within easy motoring distance of his villa on Lake Lucerne. He was not at his best on snow and ice, but he was a magnificent rock climber, and it was as an active partner, and not as a passenger, that he achieved a series of brilliant guideless climbs. Two members of the Kandahar Club, Walter Amstutz and Gotlieb Michel were his companions on expeditions of exceptional difficulty. Amstutz has given a list in Die Alpen of the King's climbs in the Dolomites and the Engelhörner and elsewhere. It is a list of which even a modern cragsman might be very proud.

On one occasion, as the King was creeping along an extremely exposed and treacherous traverse, one of his companions showed signs of perturbation. The King looked over his shoulder down into the depths below, and said, "Death is the fate of all true Alpinists," a remark which did little to reassure his companion.

References

Arnold Lunn, Come what may: an autobiography, Little, Brown and Co, 1941

Obituary for King Albert I in the Alpine Journal, with a list of his climbs (courtesy of the Toyohashi Alpine Club)

Monday, February 4, 2019

Alpinism and the waning of faith

Arnold Lunn on the rise of mountaineering in a "defeatist" era for religion

And perhaps the revelation of mountain beauty depends not only on the physical constitution of the mountains but also on the angle of spiritual reflection. There have been long ages when man was badly placed to see the light of timeless beauty shining through the mountain screen, and it is perhaps no accident that this light should have become clearer when a greater light was partially obscured.



The beginning of mountain mysticism in the eighteenth and of systematic mountaineering in the nineteenth century coincided with defeatist periods in Christian history. It is, as I pointed out in my book, Switzerland and the English, an interesting coincidence that Rousseau, who was, as Leslie Stephen remarked, "the first to set up mountains as objects of human worship," should have completed the Nouvelle Heloise, which had so great an influence on the development of the mountain cult, in the same year, 1759, that Diderot's Encyclopaedia, that manifesto of scepticism, was published, and that exactly one hundred years later the Origin of Species and Peaks, Passes and Glaciers should have made a simultaneous appearance.

It would seem as if both in 1759 and 1859 Providence provided an antidote to complete scepticism. The Alpine Club and Darwinism are in effect contemporary phenomena. They were born together but, fortunately for the Alpine Club, they did not decline together.

References

Text from: Arnold Lunn, Mountains of Memory, London, Hollis and Carter, 1948

Image: Fogbow on the Matterhorn, from Edward Whymper, Scrambles amongst the Alps in the Years 1860-69, published 1873 (via Wikipedia)

Tuesday, January 29, 2019

Geology and mountain character

Arnold Lunn on the links between the underlying rocks and the Jungfrau's form

Of the Urbachtal I remember little, and what little I do remember I would gladly forget. The valley is fenced in by bleak limestone crags and pinnacles. Limestone unvaried by granite, and unadorned by glacier, seldom produces attractive mountainscapes.

The Jungfrau seen from Schynnige Platte, Bernese Oberland
(Photo courtesy Alpine Light & Structure)

The glory of the great Oberland peaks is due to the intricate interplay of granite and limestone, and even the Eiger, which is pure limestone, and the Wetterhorn would not be the lovely mountains that they are, if they were robbed of their mantling curtains of snow and ice, as I discovered in 1947, the dryest summer for fifty years.

Postcards of the Eiger, Mönch and Jungfrau, c.1900

I am glad that the highest peak of the Wetterhörner is crested with aristocratic granite, for limestone - let us face it - is a bit of an upstart, and has never been quite accepted by the igneous rocks who queened it above the steaming seas of the primeval planet.

Postcard of the Jungfrau from Interlaken, c.1900

It was only in the Mesozoic age that the limestones began to climb the social ladder, and these Mesozoics are still regarded as invincibly middle class by the best rocks, such as the Jungfrau, that grande dame with her superb igneous coronet, who always seems to me to be raising a disdainful lorgnette as she looks down on her limestone neighbours: "My dear, do we know these Mesozoics?"

References

Text from: Arnold Lunn, Mountains of Memory, London, Hollis and Carter, 1948

Postcard images from: Daniel Anker, Jungfrau, Zauberberg der Männer, AS Verlag, 1996

Wednesday, January 23, 2019

A chain through the generations

Family history from a high alpine valley: a review of Marcella Maier’s The green silk shawl, translated by Iris Hunter

Switzerland’s Engadine valley is a set of Segantini-like vistas, all lakes and mountains. At least, that’s how visitors see it. But, before it became a touristic idyll, how did people sustain themselves here, on this windy altiplano with its thin soils and hard winters? For those who want an answer, Iris Hunter has now ably translated Marcella Maier’s The green silk shawl into English.

Marcella Maier (1920-2018) was no visitor to the Engadine. Born and brought up in St Moritz, she was able to trace her family history back through four generations, that of her mother, Nina (1890-1975), through Maria (1867-1957), her maternal grandmother, and Lisabetta (1831-1913), and so to Alma (1797-1877). In 2005, she published their story as Das grüne Seidentuch, which swiftly became a national best-seller.

In her account, women are the main characters because they had to be. For the first two generations, Maier’s ancestors were widowed early. In the next one, Maria’s husband had to flee abroad after running up huge business debts.

When the story opens, we meet Alma wondering how she can support herself and her infant daughter through the next winter. Times are hard in the aftermath of the wars when Napoleon’s troops ravaged and looted their way through Switzerland. But her prospects improve when a kind shopkeeper recommends her to the lady of the “Palazzo” in Soglio. Moving to the mountain village, she gains a reputation as a reliable worker and a skilled nurse for the sick.

Dramatis loci: St Moritz in 1900 (photo courtesy of Wikipedia.de)
And so the story begins. When Maier’s own children are born, her mother feels “as if one ring was joining another to form a chain through the generations of these women, showing the way from the distant past to the future …”

But did her mother feel any such thing? We can’t know for certain. By Maier’s own account, her sources are mainly the stories she heard from her grandmother, Maria – who, in turn, heard them from her own mother and grandmother. These events are brought to life by the plausible interpolation of the actors’ thoughts and dialogues. Rebranded by the modern literary scene as “creative non-fiction”, such techniques probably go back to Thucydides or before.

Here, we feel, the creative element is held decently in bounds. Literary devices such as leitmotivs are unobtrusive. The silk shawl of the title is an heirloom that is passed down the generations, yet it surfaces on just a handful of occasions. Conversations must be recreated, of course, but sparingly so. And Iris Hunter has expertly rendered them into natural English while letting something of the original speech patterns ring through. This too bolsters the narrative’s authenticity.

To paint in the background, Maier also draws on documentary evidence of regional life. The results should surely get a nod from historians of the Annales school. Deftly woven into the narrative are folk memories of fleeing into the mountains from Napoleon’s marauding troops, early industrial action, by washerwomen pushing for a wage rise, and the valley’s first brush with electric power (“this work of the devil”). Some of these episodes are illuminated with early photos.

Windy altiplano: Sils Maria and the Engadine valley
(Photo courtesy of Alpine Light & Structure)

There is many an insight into how society eased the lot of single mothers before social security was invented. The kind shopkeeper lets Alma buy groceries on credit, tiding her over the winter, while Lisabetta is appointed as her village’s furnera, a kind of communal baker. In return, the Swiss virtues are expected from all job applicants: “Reliability, accuracy and good manners, that is what we need here,” says Nina’s employer.

Steadfast and unshowy, these virtues may hint at why The green silk shawl is privately published. The translation was apparently passed over by several imprints who might be expected to take an interest in this kind of book. Probably it was insufficiently histrionic for them.

Readers will be more perceptive. They will find that this story's limpid surfaces conceal unsuspected depths, much like a Segantini painting of the landscape it is set in. This is a moving tribute to the quiet dignity of four women who prevailed against the odds.

Reference

Marcella Maier, The green silk shawl, translated by Iris Hunter, Perfect Publishers Ltd, Cambridge, 215 pages with illustrations.