by Nan Shepherd
Rain in the air has also the odd power of letting one see things in the round, as though stereoscopically. The rays of light, refracted through the moisture in the air, bend round the back of what I am seeing. I have looked at a croft half a mile away lying into the hill, with a steading and a cow, and felt as though I were walking round the stacks and slapping the cow’s hind quarters.
Haze, which hides, can also reveal. Dips and ravines are discerned in what had appeared a single hill: new depth is given to the vista. And in a long line of crags, such as the great southern rampart of Loch Einich, each buttress is picked out like Vandyke lace. Veils of thin mist drifting along the same great loch-face look iridescent as they float between the sun and the red rock.
For the rock of this granite boss is red, its felspar is the pink variety. Crags, boulders and scree alike are weathered to a cold grey, but find the rock where it is newly slashed, or under water, and there is the glow of the red. After a winter of very severe frost, the river sides of the Lairig have a fresh redness. Here and there one can see a bright gash where a lump of rock the size of a house has fallen; and a very little searching beneath reveals the fallen mass, with one side fresh, or broken into bright red fragments; while nearby is a dark boulder that has lain there for long enough, but from which a red chip has now been struck by the impact of the falling rock.
Or under water: the Beinnie Coire of Braeriach is the least imposing of all the corries—a mere huddle of grey scree. But through it runs a burn that has the effect of sunshine, so red are the stones it hurries over. Farther along the same mountain face, through the deep clear water of Loch Coire an Lochain, even when a thin mist quite covers it, the stones at the bottom are still intense and bright, as though the water itself held radiance. All round the margin of this exquisite loch is a rim of red stones, where the lapping of the water has prevented the growth of lichen.
Thin mist, through which the sun is suffused, gives the mountain a tenuous and ghost-like beauty; but when the mist thickens, one walks in a blind world. And that is bad: though there is a thrill in its eeriness, and a sound satisfaction in not getting lost. For not getting lost is a matter of the mind—of keeping one’s head, of having map and compass to hand and knowing how to use them, of staying steady, even when one of the party panics and wants to go in the wrong direction. Walking in mist tests not only individual self-discipline, but the best sort of interplay between persons.
When the mist turns to rain, there may be beauty there too. Like shifting mists, driving rain has a beauty of shape and movement. But there is a kind of rain without beauty, when air and ground are sodden, sullen black rain that invades body and soul alike. It gets down the neck and up the arms and into the boots. One is wet to the skin, and everything one carries has twice its weight. Then the desolation of these empty stretches of land strikes at one’s heart. The mountain becomes a monstrous place.
I think the plateau is never quite so desolate as in some days of early spring, when the snow is rather dirty, perished in places like a worn dress; and where it has disappeared, bleached grass, bleached and rotted berries and grey fringe-moss and lichen appear, the moss lifeless, as though its elasticity had gone. The foot sinks in and the impression remains. One can see in it the slot of deer that have passed earlier. This seems to me chiller than unbroken snow.
But even in this scene of grey desolation, if the sun comes out and the wind rises, the eye may suddenly perceive a miracle of beauty. For on the ground the down of a ptarmigan’s breast feather has caught the sun. Light blows through it, so transparent the fugitive spindrift feather has become. It blows away and vanishes.
Or in a drab season, and feeling as drab as the weather, I stand on a bridge above a swollen stream. And suddenly the world is made new. Submerged but erect in the margin of the stream I see a tree hung with light—a minimal tree, but exquisite, its branches delicate with globes of light that sparkle under the water. I clamber down and thrust a sacrilegious hand into the stream: I am holding a sodden and shapeless thing. I slip it again under the water and instantly again it is a tree of light. I take it out and examine it: it is a sprig of square-stalked St John’s Wort, a plant whose leaves are covered with minute pores that can exude a film of oil, protecting it against the water that has engulfed it, in like manner as the dipper, plunging into the stream has a film of light between him and the water. I think of the Silver Bough of Celtic mythology and marvel that an enchantment can be made from so small a matter.
Storm in the air wakes the hidden fires—lightning, the electric flickers we call fire flauchts, and the Aurora Borealis. Under these alien lights the mountains are remote. They withdraw in the darkness. For even in a night that has neither moon nor stars the mountains can still be seen. The sky cannot be wholly dark. In the most overcast night it is much lighter than the earth; and even the highest hills seem low against the immense night sky. A flash of lightning will draw them close for a brief moment out of this remoteness.
In the darkness one may touch fires from the earth itself. Sparks fly round one’s feet as the nails strike rock, and sometimes, if one disturbs black ooze in passing, there leap in it minute pricks of phosphorescent light.
Walking in the dark, oddly enough, can reveal new knowledge about a familiar place. In a moonless week, with overcast skies and wartime blackout, I walked night after night over the moory path from Whitewell to Upper Tullochgrue to hear the news broadcast. I carried a torch but used it only once, when I completely failed to find the gate to the Tullochgrue field. Two pine trees that stood out against the sky were my signposts, and no matter how dark the night the sky was always appreciably lighter than the trees. The heather through which the path runs was very black, the path perceptibly paler, clumps and ridges of heather between the ruts showing dark against the stone and beaten earth. But it amazed me to find how unfamiliar I was with that path. I had followed it times without number, yet now, when my eyes were in my feet, I did not know its bumps and holes, nor where the trickles of water crossed it, nor where it rose and fell. It astonished me that my memory was so much in the eye and so little in the feet, for I am not awkward in the dark and walk easily and happily in it. Yet here I am stumbling because the rock has made a hump in the ground. To be a blind man, I see, needs application.
As I reach the highest part of my dark moor, the world seems to fall away all round, as though I have come to its edge, and were about to walk over. And far off, on a low horizon, the high mountains, the great Cairngorm group, look small as a drystone dyke between two fields.
Apparent size is not only a matter of humidity. It may be relative to something else in the field of vision. Thus I have seen a newly-risen moon (a harvest moon and still horned), low in the sky, upright, enormous, dwarfing the hills.
SEVEN
Life: The Plants
I have written of inanimate things, rock and water, frost and sun; and it might seem as though this were not a living world. But I have wanted to come to the living things through the forces that create them, for the mountain is one and indivisible, and rock, soil, water and air are no more integral to it than what grows from the soil and breathes the air. All are aspects of one entity, the living mountain. The disintegrating rock, the nurturing rain, the quickening sun, the seed, the root, the bird—all are one. Eagle and alpine veronica are part of the mountain’s wholeness. Saxifrage—the ‘rock-breaker’—in some of its loveliest forms, Stellaris, that stars with its single blossoms the high rocky corrie burns, and Azoides, that clusters like soft sunshine in their lower reaches, cannot live apart from the mountain. As well expect the eyelid to function if cut from the eye.
Yet in the terrible blasting winds on the plateau one marvels that life can exist at all. It is not high, as height goes. Plants live far above 4000 feet. But here there is no shelter-or only such shelter as is afforded where the threads of water run in their wide sloping channels towards the edge of the cliffs. Whatever grows, grows in exposure to the whole vast reach of the
air. From Iceland, from Norway, from America, from the Pyrenees, the winds tear over it. And on its own undulating surface no rocks, or deep ravines, provide a quiet place for growth. Yet the botanist with whom I sometimes walk tells me that well over twenty species of plant grow there—many more, if each variety of moss, lichen and algae is counted. He has made me a list of them, and I can count them. Life, it seems, won’t be warned off.
The tenacity of life can be seen not only on the tops but on lower shoulders where the heather has been burnt. Long before the heather itself (whose power to survive fire as well as frost, wind, and all natural inclemencies is well known) shows the least sign of life from the roots beneath its charred sticks, or has sprouted anew from seed hidden in the ground, birdsfoot trefoil, tormentil, blaeberry, the tiny genista, alpine lady’s mantle, are thrusting up vigorous shoots. These mountain flowers look inexpressibly delicate; their stems are slender, their blossoms fragile; but burrow a little in the soil, and roots of a timeless endurance are found. Squat or stringy, like lumps of dead wood or bits of sinew, they conserve beneath the soil the vital energy of the plant. Even when all the upper growth is stripped—burned or frosted or withered away—these knots of life are everywhere. There is no time nor season when the mountain is not alive with them. Or if the root has perished, living seeds are in the soil, ready to begin the cycle of life afresh. Nowhere more than here is life proved invincible. Everything is against it, but it pays no heed.
The plants of the plateau are low in stature, sitting tight to the ground with no loose ends for the wind to catch. They creep, either along the surface, or under it; or they anchor themselves by a heavy root massive out of all proportion to their external growth. I have said that they have no shelter, but for the individual flower there is the shelter of its group. Thus the moss campion, Silene, the most startling of all the plateau flowers, that in June and early July amazes the eye by its cushions of brilliant pink scattered in the barest and most stony places, has a habit of growth as close-set as a Victorian posy. Its root too is strong and deep, anchoring it against the hurricane, and keeping its vital essence safe against frost and fiery drought, the extremes and unpredictable shifts of weather on the exposed plateau. In these ways this most characteristic of the plateau flowers is seen to be quite simply a part of the mountain. Its way of life lies in the mountain’s way of life as water lies in a channel.
Even its flamboyant flowers are integral to the mountain’s way of life. I do not know how old the individual clumps may be, but judging from the size to which these close-knit cushions grow, some must have endured the commotion of many winters. Most of the mountain flowers are long livers. The plant that races through its cycle in a single season could never be sure, up here, of fruition—there might be no successors. Death would dog, not only the individual, but the species. Yet even the long livers must renew themselves at times, and it is on only some of the summer days that insects can fly to the mountain top. So the Silene throws this ardent colour into its petals to entice the flies.
Lower on the mountain, on all the slopes and shoulders and ridges and on the moors below, the characteristic growth is heather. And this too is integral to the mountain. For heather grows in its most profuse luxuriance on granite, so that the very substance of the mountain is in its life. Of the three varieties that grow on these hills—two Ericas and the ling—the July-blooming bell heather is the least beautiful, though its clumps of hot red are like sun-bursts when the rest of the hills are still brown. The pale cross-leaved heath, that grows in small patches, often only single heads, in moist places, is an exquisite, almost waxen-still, with a honey perfume. But it is the August-blooming ling that covers the hills with amethyst. Now they look gracious and benign. For many many miles there is nothing but this soft radiance. Walk over it in a hot sun, preferably not on a path (‘I like the unpath best,’ one of my small friends said when her father had called her to heel), and the scent rises in a heady cloud. Just as one walks on a hot day surrounded by one’s own aura of flies, so one walks surrounded by one’s own aura of heather scent. For as the feet brush the bloom, the pollen rises in a perfumed cloud. It settles on one’s boots, or if one is walking barefoot, on feet and legs, yellowy-fawn in colour, silky to the touch, yet leaving a perceptible grit between the fingers. Miles of this, however, stupefies the body. Like too much incense in church, it blunts the sharp edge of adoration, which, at its finest, demands clarity of the intellect as well as the surge of emotion.
To one who loves the hills at every season, the blossoming is not the best of the heather. The best of it is simply its being there—is the feel of it under the feet. To feel heather under the feet after long abstinence is one of the dearest joys I know.
Scent—fragrance, perfume—is very much pertinent to the theme of life, for it is largely a by-product of the process of living. It may also be a by-product of fire, but then fire feeds on what lives or what has lived. Or of chemical action, but if there are obscure chemical processes at work in the dead stuff of the mountain, they give little indication to my nose. The smells I smell are of life, plant and animal. Even the good smell of earth, one of the best smells in the world, is a smell of life, because it is the activity of bacteria in it that sets up this smell.
Plants then, as they go through the business of living, emit odours. Some, like the honey scents of flowers, are an added allurement to the insects; and if, as with heather, the scent is poured out most recklessly in the heat of the sun, that is because it is then that the insects are out in strength. But in other cases—as the fir trees—the fragrance is the sap, is the very life itself. When the aromatic savour of the pine goes searching into the deepest recesses of my lungs, I know it is life that is entering. I draw life in through the delicate hairs of my nostrils. Pines, like heather, yield their fragrance to the sun’s heat. Or when the foresters come, and they are cut, then their scent is strong. Of all the kinds that grow on the low reaches of these mountains, spruce throws the strongest perfume on the air when the saw goes through it. In hot sun it is almost like a ferment—like strawberry jam on the boil, but with a tang that tautens the membranes of nose and throat.
Of plants that carry their fragrance in their leaves, bog myrtle is the mountain exampler. This grey-green shrub fills the boggy hollows, neighboured by cotton-grass and sundew, bog asphodel and the spotted orchis, and the minute scarlet cups of the lichens. Its fragrance is cool and clean, and like the wild thyme it gives it most strongly when crushed.
The other shrub, juniper, is secretive with its scent. It has an odd habit of dying in patches, and when a dead branch is snapped, a spicy odour comes from it. I have carried a piece of juniper wood for months, breaking it afresh now and then to renew the spice. This dead wood has a grey silk skin, impervious to rain. In the wettest season, when every fir branch in the woods is sodden, the juniper is crackling dry and burns with a clear heat. There’s nothing better under the girdle when scones are baking—unless perhaps small larch twigs, fed into a fire already banked. Once, striking thick loose snow from low juniper bushes before walking through them, I surprised myself by striking from them also a delectable fragrance, that floated on the wintry air.
Birch, the other tree that grows on the lower mountain slopes, needs rain to release its odour. It is a scent with body to it, fruity like old brandy, and on a wet warm day, one can be as good as drunk with it. Acting through the sensory nerves, it confuses the higher centres; one is excited, with no cause that the wit can define.
Birch trees are least beautiful when fully clothed. Exquisite when the opening leaves just fleck them with points of green flame, or the thinning leaves turn them to a golden lace, they are loveliest of all when naked. In a low sun, the spun silk floss of their twigs seems to be created out of light. Without transfiguration, they are seen to be purple—when the sap is rising, a purple so glowing that I have caught sight of a birchwood on a hillside and for one incredulous moment thought the heather was in bloom.
Among
drifts of these purple glowing birches, an occasional rowan looks dead; its naked boughs are a smooth white-grey, almost ghastly as the winter light runs over them. The rowan’s moment is in October, when even the warmth of its clustering berries is surpassed by the blood-red brilliance of its leaves. This is the ‘blessed quicken wood’, that has power against the spirits of evil. It grows here and there among birches and firs, as a rule singly, and sometimes higher than either, a solitary bush by the rivulet in a ravine.
October is the coloured month here, far more brilliant than June, blazing more sharply than August. From the gold of the birches and bracken on the low slopes, the colour spurts upwards through all the creeping and inconspicuous growths that live among the heather roots—mosses that are lush green, or oak-brown, or scarlet, and the berried plants, blaeberry, cranberry, crowberry and the rest. Blaeberry leaves are a flaming crimson, and they are loveliest of all in the Rothiemurchus Forest, where the fir trees were felled in the 1914 War, and round and out of each stump blaeberry grows in upright sprigs: so that in October a multitude of pointed flames seem to burn upwards all over the moor.
