Summer on the Lakes, in 1843. Fuller Margaret

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      At last, slowly and thoughtfully I walked down to the bridge leading to Goat Island, and when I stood upon this frail support, and saw a quarter of a mile of tumbling, rushing rapids, and heard their everlasting roar, my emotions overpowered me, a choaking sensation rose to my throat, a thrill rushed through my veins, "my blood ran rippling to my finger's ends." This was the climax of the effect which the falls produced upon me—neither the American nor the British fall moved me as did these rapids. For the magnificence, the sublimity of the latter I was prepared by descriptions and by paintings. When I arrived in sight of them I merely felt, "ah, yes, here is the fall, just as I have seen it in picture." When I arrived at the terrapin bridge, I expected to be overwhelmed, to retire trembling from this giddy eminence, and gaze with unlimited wonder and awe upon the immense mass rolling on and on, but, somehow or other, I thought only of comparing the effect on my mind with what I had read and heard. I looked for a short time, and then with almost a feeling of disappointment, turned to go to the other points of view to see if I was not mistaken in not feeling any surpassing emotion at this sight. But from the foot of Biddle's stairs, and the middle of the river, and from below the table rock, it was still "barren, barren all." And, provoked with my stupidity in feeling most moved in the wrong place, I turned away to the hotel, determined to set off for Buffalo that afternoon. But the stage did not go, and, after nightfall, as there was a splendid moon, I went down to the bridge, and leaned over the parapet, where the boiling rapids came down in their might. It was grand, and it was also gorgeous; the yellow rays of the moon made the broken waves appear like auburn tresses twining around the black rocks. But they did not inspire me as before. I felt a foreboding of a mightier emotion to rise up and swallow all others, and I passed on to the terrapin bridge. Everything was changed, the misty apparition had taken off its many-colored crown which it had worn by day, and a bow of silvery white spanned its summit. The moonlight gave a poetical indefiniteness to the distant parts of the waters, and while the rapids were glancing in her beams, the river below the falls was black as night, save where the reflection of the sky gave it the appearance of a shield of blued steel. No gaping tourists loitered, eyeing with their glasses, or sketching on cards the hoary locks of the ancient river god. All tended to harmonize with the natural grandeur of the scene. I gazed long. I saw how here mutability and unchangeableness were united. I surveyed the conspiring waters rushing against the rocky ledge to overthrow it at one mad plunge, till, like toppling ambition, o'erleaping themselves, they fall on t'other side, expanding into foam ere they reach the deep channel where they creep submissively away.

      Then arose in my breast a genuine admiration, and a humble adoration of the Being who was the architect of this and of all. Happy were the first discoverers of Niagara, those who could come unawares upon this view and upon that, whose feelings were entirely their own. With what gusto does Father Hennepin describe "this great downfall of water," "this vast and prodigious cadence of water, which falls down after a surprising and astonishing manner, insomuch that the universe does not afford its parallel. 'Tis true Italy and Swedeland boast of some such things, but we may well say that they be sorry patterns when compared with this of which we do now speak."

      CHAPTER II.

      THE LAKES.

      Scene, Steamboat—About to leave Buffalo—Baggage coming on board—Passengers bustling for their berths—Little boys persecuting everybody with their newspapers and pamphlets—J., S. and M. huddled up in a forlorn corner, behind a large trunk—A heavy rain falling.

      M. Water, water everywhere. After Niagara one would like a dry strip of existence. And at any rate it is quite enough for me to have it under foot without having it over head in this way.

      J. Ah, do not abuse the gentle element. It is hardly possible to have too much of it, and indeed, if I were obliged to choose amid the four, it would be the one in which I could bear confinement best.

      S. You would make a pretty Undine, to be sure!

      J. Nay, I only offered myself as a Triton, a boisterous Triton of the sounding shell … You; M. I suppose, would be a salamander, rather.

      M. No! that is too equivocal a position, whether in modern mythology, or Hoffman's tales. I should choose to be a gnome.

      J. That choice savors of the pride that apes humility.

      M. By no means; the gnomes are the most important of all the elemental tribes. Is it not they who make the money?

      J. And are accordingly a dark, mean, scoffing—

      M. You talk as if you had always lived in that wild unprofitable element you are so fond of, where all things glitter, and nothing is gold; all show and no substance. My people work in the secret, and their works praise them in the open light; they remain in the dark because only there such marvels could be bred. You call them mean. They do not spend their energies on their own growth, or their own play, but to feed the veins of mother earth with permanent splendors, very different from what she shows on the surface.

      Think of passing a life, not merely in heaping together, but making gold. Of all dreams, that of the alchymist is the most poetical, for he looked at the finest symbol. Gold, says one of our friends, is the hidden light of the earth, it crowns the mineral, as wine the vegetable order, being the last expression of vital energy.

      J. Have you paid for your passage?

      M. Yes! and in gold, not in shells or pebbles.

      J. No really wise gnome would scoff at the water, the beautiful water. "The spirit of man is like the water."

      S. Yes, and like the air and fire, no less.

      J. Yes, but not like the earth, this low-minded creature's chosen dwelling.

      M. The earth is spirit made fruitful—life. And its heart-beats are told in gold and wine.

      J. Oh! it is shocking to hear such sentiments in these times. I thought that Bacchic energy of yours was long since repressed.

      M. No! I have only learned to mix water with my wine, and stamp upon my gold the heads of kings, or the hieroglyphics of worship. But since I have learnt to mix with water, let's hear what you have to say in praise of your favorite.

      J. From water Venus was born, what more would you have? It is the mother of Beauty, the girdle of earth, and the marriage of nations.

      S. Without any of that high-flown poetry, it is enough, I think, that it is the great artist, turning all objects that approach it to picture.

      J. True, no object that touches it, whether it be the cart that ploughs the wave for sea-weed, or the boat or plank that rides upon it, but is brought at once from the demesne of coarse utilities into that of picture. All trades, all callings, become picturesque by the water's side, or on the water. The soil, the slovenliness is washed out of every calling by its touch. All river-crafts, sea-crafts, are picturesque, are poetical. Their very slang is poetry.

      M. The reasons for that are complex.

      J. The reason is, that there can be no plodding, groping words and motions, on my water as there are on your earth. There is no time, no chance for them where all moves so rapidly, though so smoothly, everything connected with water must be like itself, forcible, but clear. That is why sea-slang is so poetical; there is a word for everything and every act, and a thing and an act for every word. Seamen must speak quick and bold, but also with utmost precision. They cannot reef and brace other than in a Homeric dialect—therefore—(Steamboat bell rings.) But I must СКАЧАТЬ