Niagara is the central home and breeding-place for all the touts of earth. And in the midst of all this, overwhelming it all, are the Falls.
He who sees them instantly forgets humanity. They are not very high, but they are overpowering. They are divided by an island into two parts, the Canadian and the American. Half a mile or so above the Falls, on either side, the water of the great stream begins to run more swiftly and in confusion. It descends with ever-growing speed. It begins chattering and leaping, breaking into a thousand ripples, throwing up joyful fingers of spray.
Sometimes it is divided by islands and rocks, sometimes the eye can see nothing but a waste of laughing, springing, foamy waves, turning, crossing, even seeming to stand for an instant erect, but always borne impetuously forward like a crowd of triumphant feasters. Sit close down by it, and you see a fragment of the torrent against the sky, mottled, steely, and foaming, leaping onward in far-flung criss-cross strands of water.
Perpetually the eye is on the point of descrying a pattern in this weaving, and perpetually it is cheated by change.
ShowIt ShowIt V
In one place part of the flood plunges over a ledge a few feet high and a quarter of a mile or so long, in a uniform and stable curve. It gives an impression of almost military concerted movement, grown suddenly out of confusion. But it is swiftly lost again in the multitudinous tossing merriment. Here and there a rock close to the surface is marked by a white wave that faces backwards and seems to be rushing madly up-stream, but is really stationary in the headlong charge.
But for these signs of reluctance, the waters seem to fling themselves on with some foreknowledge of their fate, in an ever wilder frenzy. But it is no Maeterlinckian prescience. They prove, rather, that Greek belief that the great crashes are preceded by a louder merriment and a wilder gaiety. Leaping in the sunlight, careless, entwining, clamorously joyful, the waves riot on towards the verge.
But there they change. As they turn to the sheer descent, the white and blue and slate color, in the heart of the Canadian Falls at least, blend and deepen to a rich, wonderful, luminous green. On the edge of disaster the river seems to gather herself, to pause, to lift a head noble in ruin, and then, with a slow grandeur, to plunge into the eternal thunder and white chaos below.
Where the stream runs shallower it is a kind of violet color, but both violet and green fray and frill to white as they fall. The mass of water, striking some ever-hidden base of rock, leaps up the whole two hundred feet again in pinnacles and domes of spray. The spray falls back into the lower river once more; all but a little that fines to foam and white mist, which drifts in layers along the air, graining it, and wanders out on the wind over the trees and gardens and houses, and so vanishes.
The manager of one of the great power-stations on the banks of the river above the Falls told me that the center of the riverbed at the Canadian Falls is deep and of a saucer shape. So it may be possible to fill this up to a uniform depth, and divert a lot of water for the power-houses. And this, he said, would supply the need for more power, which will certainly soon arise, without taking away from the beauty of Niagara. This is a handsome concession of the utilitarians to ordinary sight-seers. Yet, I doubt if we shall be satisfied.
The real secret of the beauty and terror of the Falls is not their height or width, but the feeling of colossal power and of unintelligible disaster caused by the plunge of that vast body of water. If that were taken away, there would be little visible change, but the heart would be gone.
Alan Beale's Core Vocabulary Compiled from 3 Small ESL Dictionaries (21877 Words)
The American Falls do not inspire this feeling in the same way as the Canadian. It is because they are less in volume, and because the water does not fall so much into one place. By comparison their beauty is almost delicate and fragile. They are extraordinarily level, one long curtain of lacework and woven foam. Seen from opposite, when the sun is on them, they are blindingly white, and the clouds of spray show dark against them. With both Falls the color of the water is the ever-altering wonder. Greens and blues, purples and whites, melt into one another, fade, and come again, and change with the changing sun.
Sometimes they are as richly diaphanous as a precious stone, and glow from within with a deep, inexplicable light. Sometimes the white intricacies of dropping foam become opaque and creamy. And always there are the rainbows. If you come suddenly upon the Falls from above, a great double rainbow, very vivid, spanning the extent of spray from top to bottom, is the first thing you see.
If you wander along the cliff opposite, a bow springs into being in the American Falls, accompanies you courteously on your walk, dwindles and dies as the mist ends, and awakens again as you reach the Canadian tumult. And the bold traveler who attempts the trip under the American Falls sees, when he dare open his eyes to anything, tiny baby rainbows, some four or five yards in span, leaping from rock to rock among the foam, and gamboling beside him, barely out of hand's reach, as he goes.
One I saw in that place was a complete circle, such as I have never seen before, and so near that I could put my foot on it. It is a terrifying journey, beneath and behind the Falls. The senses are battered and bewildered by the thunder of the water and the assault of wind and spray; or rather, the sound is not of falling water, but merely of falling; a noise of unspecified ruin. So, if you are close behind the endless clamor, the sight cannot recognize liquid in the masses that hurl past.
You are dimly and pitifully aware that sheets of light and darkness are falling in great curves in front of you. Dull omnipresent foam washes the face. Farther away, in the roar and hissing, clouds of spray seem literally to slide down some invisible plane of air. Beyond the foot of the Falls the river is like a slipping floor of marble, green with veins of dirty white, made by the scum that was foam.
It slides very quietly and slowly down for a mile or two, sullenly exhausted. Then it turns to a dull sage green, and hurries more swiftly, smooth and ominous. As the walls of the ravine close in, trouble stirs, and the waters boil and eddy. These are the lower rapids, a sight more terrifying than the Falls, because less intelligible.
Close in its bands of rock the river surges tumultuously forward, writhing and leaping as if inspired by a demon. It is pressed by the straits into a visibly convex form.
Great planes of water slide past. Sometimes it is thrown up into a pinnacle of foam higher than a house, or leaps with incredible speed from the crest of one vast wave to another, along the shining curve between, like the spring of a wild beast. Its motion continually suggests muscular action. The power manifest in these rapids moves one with a different sense of awe and terror from that of the Falls.
Here the inhuman life and strength are spontaneous, active, almost resolute; masculine vigor compared with the passive gigantic power, female, helpless and overwhelming, of the Falls.
Contemporary Studies in Environmental and Indigenous Pedagogies
A place of fear. One is drawn back, strangely, to a contemplation of the Falls, at every hour, and especially by night, when the cloud of spray becomes an immense visible ghost, straining and wavering high above the river, white and pathetic and translucent. The Victorian lies very close below the surface in every man. There one can sit and let great cloudy thoughts of destiny and the passage of empires drift through the mind; for such dreams are at home by Niagara.
I could not get out of my mind the thought of a friend, who said that the rainbows over the Falls were like the arts and beauty and goodness, with regard to the stream of life—caused by it, thrown upon its spray, but unable to stay or direct or affect it, and ceasing when it ceased. In all comparisons that rise in the heart, the river, with its multitudinous waves and its single current, likens itself to a life, whether of an individual or of a community.
A man's life is of many flashing moments, and yet one stream; a nation's flows through all its citizens, and yet is more than they. In such places, one is aware, with an almost insupportable and yet comforting certitude, that both men and nations are hurried onwards to their ruin or ending as inevitably as this dark flood.
Kayaking a Moonbeam
Some go down to it unreluctant, and meet it, like the river, not without nobility. And as incessant, as inevitable, and as unavailing as the spray that hangs over the Falls, is the white cloud of human crying With some such thoughts does the platitudinous heart win from the confusion and thunder of a Niagara peace that the quietest plains or most stable hills can never give.
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Don Marquis is a real name, not a pseudonym; it is pronounced Markwiss , not Markee. I reprint here two of Mr.
According to the traditional motto of sun-dials, Mr. Marquis's horologe usually numbers only the serene hours; but sometimes, when the clear moonlight of his Muse is shining, it casts darker and even more precious shadows of satire and mysticism. His many readers know by this time the depth and reach of his fun and fancy. Marquis is a true philosopher and wit, his humor adorns a rich and mellow gravity.
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When strongly moved he sometimes utters an epigram that rings like steel leaving the scabbard. There are many things to be said against American newspapers, but much of the indictment is quashed when one considers that every now and then they develop a writer like Don Marquis. The violent haste, pressure and instancy of newspaper routine, purgatorial to some temperaments, is a genuine stimulus to others—particularly if they are able, as in the case of the columnist, to fall back upon outside contributors in their intervals of pessimism or sloth.
Marquis's The Old Soak , a post-prohibition portrait of a genial old tippler, is perhaps the most vital bit of American humor since Mr. Dooley —some say since Mark Twain. His Prefaces and his poems will also be considered by the judicious. He was born in Illinois in , and did newspaper work in Philadelphia and Atlanta before coming to the Sun in No matter how nearly perfect an Almost Perfect State may be, it is not nearly enough perfect unless the individuals who compose it can, somewhere between death and birth, have a perfectly corking time for a few years.
The most wonderful governmental system in the world does not attract us, as a system; we are after a system that scarcely knows it is a system; the great thing is to have the largest number of individuals as happy as may be, for a little while at least, some time before they die. Infancy is not what it is cracked up to be. The child seems happy all the time to the adult, because the adult knows that the child is untouched by the real problems of life; if the adult were similarly untouched he is sure that he would be happy. But children, not knowing that they are having an easy time, have a good many hard times.
Growing and learning and obeying the rules of their elders, or fighting against them, are not easy things to do. Adolescence is certainly far from a uniformly pleasant period. Early manhood might be the most glorious time of all were it not that the sheer excess of life and vigor gets a fellow into continual scrapes.
Of middle age the best that can be said is that a middle aged person has likely learned how to have a little fun in spite of his troubles. It is to old age that we look for reimbursement, the most of us. And most of us look in vain. For the most of us have been wrenched and racked, in one way or another, until old age is the most trying time of all.