“ Technical knowledge does not always make for understanding. The first great revelation of the mountains has a power that is all its own. To the man who has yet to climb, every mountain is virgin, every snow-field a mystery, undefiled by traffic with man. The first vision passes, and the love that is based on understanding supplants it. The vision of unattainable snows translates itself into terms of memory—that white gleam that once belonged to dreamland into an ice-wall with which you have wrestled through the scorching hours of a July afternoon. ”
Arnold Lunn
Summary
Arnold Lunn’s The Alps is a reflective examination of mountaineering’s physical and spiritual aspects, centering on the difficulties of scaling renowned summits such as the Matterhorn and Mont Blanc. Through vivid narratives of trailblazers like Whymper and Bourrit, the text combines technical insights into climbing with musings on the mountains’ lasting fascination, highlighting the tension between factual precision and personal awe.
Lunn investigates the function of guides, the dangers posed by glaciers, and the romanticized history of Alpine discovery, while incorporating cultural allusions to artists such as Dürer and literary icons like Byron. The work ultimately connects the scientific with the lyrical, portraying the Alps as both a crucible for human perseverance and a domain of eternal, nearly sacred, enigma.
Quotes from The Alps (Arnold Lunn)
“ Carrel was something more than a great guide. He remained a soldier long after he had laid down his sword. He was, above all, an Italian, determined to climb the Matterhorn by the great Italian ridge, to climb it for the honour of Italy, and for the honour of his native valley. The two great moments of his life were those in which he heard the shouts of victory at Colle di Santiarno, and the cries of triumph on the summit of the Italian ridge. Whymper, and later Tyndall, found him an awkward man to deal with. He had the rough, undisciplined nature of the mountain he loved. ”
“ Contrast is the essence of Art, and Dürer was too great a man to miss the rugged appeal of untamed cliffs, because he could fathom so easily the gentler charm of German fields and Italian waters. You will find in these mountain woodcuts the whole essence of the lovable German romance, that peculiar note of “snugness” due to the contrast of frowning rock and some “gemütlich” Black Forest châlet. Hans Andersen, though a Dane, caught this note; and in Dürer’s work there is the same appealing romance that makes the “Ice Maiden” the most lovable of Alpine stories. ”
