Time and change

Front matter

WORKS. 15 vols., uniform, i6mo, gilt top. Wake-Robin.

Winter Sunshine.

Locusts and Wild Honey.

Preface

I SUSPECT that in this volume my reader will feel that I have given him a stone when he asked for bread, and his feeling in this respect will need no apology. I fear there is more of the matter of hard science and of scientific speculation in this collection than of spiritual and aesthetic nutriment; but I do hope the volume is not entirely destitute of the latter. If I have not in some degree succeeded in transmuting my rocks into a kind of wholesome literary bread, or, to vary the figure, in turning them into a soil in which some green thing or flower of human interest and emotion may take root and grow, then, indeed, have I come short of the end I had in view.

I am well aware that my own interest in geology far outruns my knowledge, but if I can in some degree kindle that interest in my reader, I shall be putting him on the road to a fuller knowledge than I possess. As with other phases of nature, I have probably loved the rocks more than I have studied them. In my youth I delighted in lingering about and beneath the ledges of my native hills, partly in the spirit of adventure and a boy's love of the wild, and partly with an eye to their curious forms, and

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PREFACE

the evidences of immense time that looked out from their gray and crumbling fronts. I was in the presence of Geologic Time, and was impressed by the scarred and lichen-coated veteran without knowing who or what he was. But he put a spell upon me that has deepened as the years have passed, and now my boyhood ledges are more interesting to me than ever.

If one gains an interest in the history of the earth, he is quite sure to gain an interest in the history of the life on the earth. If the former illustrates the theory of development, so must the latter. The geologist is pretty sure to be an evolutionist. As science turns over the leaves of the great rocky volume, it sees the imprint of animals and plants upon them and it traces their changes and the appearance of new species from age to age. The biologic tree has grown and developed as the geologic soil in which it is rooted has deepened and ripened. I am sure I was an evolutionist in the abstract, or by the quality and complexion of my mind, before I read Darwin, but to become an evolutionist in the concrete, and accept the doctrine of the animal origin of man, has not for me been an easy matter.

The essays on the subject in this volume are the outcome of the stages of brooding and thinking which I have gone through in accepting this doctrine. I am aware that there is much repeti-

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PREFACE

tion in them, but maybe on that very account they will help my reader to go along with me over the long road we have to travel to reach this conclusion.

Contents

I. The Long Road 1

II. The Divine Abyss 39

HI. The Spell of the Yosemite ... 71

II

IN making the journey to the great Southwest, — Colorado, New Mexico, and Arizona, — if one does not know his geology, he is pretty sure to wish he did, there is so much geology scattered over all these Southwestern landscapes, crying aloud to be read. The book of earthly revelation, as shown by the great science, lies wide open in that land, as it does in few other places on the globe. Its leaves fairly flutter in the wind, and the print is so large that he who runs on the California Limited may read it. Not being able to read it at all, or not taking any interest in it, is like going to Rome or Egypt or Jerusalem, knowing nothing of the history of those lands.

Of course, we have just as much geology in the East and Middle West, but the books are closed and sealed, as it were, by the enormous lapse of time since these portions of the continent became dry land. The eroding and degrading forces have ages since passed the meridian of their day's work, and grass and verdure hide their footsteps. But in the great West and Southwest, the gods of erosion and degradation seem yet in the heat and burden of the day's toil. Their unfinished landscapes meet the eye on every hand. Many of the mountains look as if they were blocked out but yesterday, and one sees vast naked flood-plains, and painted deserts and bad lands and dry lake-bottoms, that suggest a world yet in the making.

Some force has scalped the hills, ground the mountains, strangled the rivers, channeled the plains, laid bare the succession of geologic ages, stripping off formation after formation like a garment, or cutting away the strata over hundreds of square ijiiles, as we pry a slab from a rock — and has done it all but yesterday. If we break the slab in the prying, and thus secure only part of it, leaving an abrupt jagged edge on the part that remains, we have still a better likeness of the work of these great geologic quarrymen. But other workmen, invisible to our eyes, have carved these jagged edges into novel and beautiful forms.

The East is old, old ! the West, with the exception of the Rocky Mountains, is of yesterday in comparison. The Hudson was an ancient river before the Mississippi was born, and the Catskills were being slowly carved from a vast plateau while the rocks that were to form many of the Western ranges were being laid down as sediment in the bottom of the sea. California is yet in her teens, while New England in comparison is an octogenarian. Just as much geology in the East as in the West, did I say? Not as much visible geology, not as much by many chapters of earth history, not as much by all the later formations, by most of the Mesozoic and Tertiary deposits. The vast series of sedimentary rocks since the Carboniferous age, to say nothing of the volcanic, that make up these periods, are largely wanting east of the Mississippi, except in New Jersey and in some of the Gulf States. They are recent. They are like the history of our own period compared with that of Egypt and Judea. It is mainly these later formations — the Permian, the Jurassic, the Triassic, the Cretaceous, the Eocene, — that give the prevailing features to the Southwestern landscape that so astonish Eastern eyes. From them come most of the petrified remains of that great army of extinct reptiles and mammals — the three- toed horse, the sabre-toothed tiger, the brontosaurus, the fin-backed lizard, the imperial mammoth, the various dinosaurs, some of them gigantic in form and fearful in aspect — that of late years have appeared in our museums and that throw so much light upon the history of the animal life of the globe. Most of the sedimentary rocks of New York and New England were laid down before these creatures existed.

Now I am not going to write an essay on the geology of the West, for I really have little first-hand knowledge upon that subject, but I would indicate the kind of interest in the country I was most conscious of during my recent trip to the Pacific Coast and beyond. Indeed, quite a geologic fever raged in me most of the time. The rocks attracted me more than the birds, the sculpturing of the landscapes engaged my attention more than the improvements of the farms — what Nature had done more than what man was doing. The purely scenic aspects of the country are certainly remarkable, and the human aspects interesting, but underneath these things, and striking through them, lies a vast world of time and change that to me is still more remarkable, and still more interesting. I could not look out of the car windows without seeing the spectre of geologic time stalking across the hills and plains.

As one leaves the prairie States and nears the great Southwest, he finds Nature in a new mood — she is dreaming of canons; both cliffs and soil have canon stamped upon them, so that your eye, if alert, is slowly prepared for the wonders of rock-carving it is to see on the Colorado. The canon form seems inherent in soil and rock. The channels of the little streams are canons, vertical sides of adobe soil, as deep as they are broad, rectangle grooves in the ground.

Through all this arid region nature is abrupt, angular, and sudden — the plain squarely abutting the cliff, the cliff walling the canon; the dry water-course sunk in the plain like a carpenter's groove into a plank. Cloud and sky look the same as at home, but the earth is a new earth — new geologically, and new in the lines of its landscapes. It seems by the forms she develops that Nature must use tools that she long since discarded in the East. She works as if with the square and the saw and the compass, and uses implements that cut like chisels and mouldingplanes. Right lines, well-defined angles, and tablelike tops of buttes and mesas alternate with perfect curves, polished domes, carved needles, and fluted escarpments.

In the features of our older landscapes there is little or nothing that suggests architectural forms or engineering devices; in the Far West one sees such forms and devices everywhere.

In visiting the Petrified Forests in northern Arizona we stood on the edge of a great rolling plain and looked down upon a wide, deeply eroded stretch of country below us that suggested a vast army encampment, covered as it was with great domeshaped, tent-like mounds of a light terra-cotta color, with open spaces like streets or avenues between them. There were hundreds or thousands of these earthy tents stretching away for twenty-five miles. Along the horizon was a gigantic stockade of red, rounded pillars, or a solid line of mosque-like temples. How unreal, how spectral it all seemed ! Not a sound or sign of life in the whole painted solitude — a de^ serted camp, or one upon which the silence of death had fallen. Here, in Carboniferous times, grew the gigantic fern-like trees, the Sigillaria and Lepidodendron, whose petrified trunks, for aeons buried beneath the deposit of the Permian seas, and then, during other seons, slowly uncovered by the gentle action of the eroding rains, we saw scattered on the ground.

You first see Nature beginning to form the canon habit in Colorado and making preliminary studies for her masterpiece, the Grand Canon. Huge square towers and truncated cones and needles and spires break the horizon-lines. Here all her water-courses, wet or dry, are deep grooves in the soil, with striking and pretty carvings and modelings adorning their vertical sides. In the railway cuts you see the same effects — miniature domes and turrets and other canon features carved out by the rains. The soil is massive and does not crumble like ours and seek the angle of repose; it gives way in masses like a brick wall. It is architectural soil, it seeks approximately the right angle — the level plain or the vertical wall. It erodes easily under running water, but it does not slide; sand and clay are in such proportions as to make a brittle but not a friable soil.

Before you are out of Colorado, you begin to see these novel architectural features on the horizon-line — the canon turned bottom side up, as it were.

In New Mexico, the canon habit of the erosion forces is still more pronounced. The mountain-lines are often as architectural in the distance, or arbitrary, as the sky-line of a city. You may see what you half persuade yourself is a huge brick building notching the horizon, — an asylum, a seminary, a hotel, — but it is only a fragment of red sandstone, carved out by wind and rain.

Presently the high colors of the rocks appear — high cliffs with terra-cotta fagades, and a new look in the texture of the rocks, a soft, beaming, less frowning expression, and colored as if by the Western sunsets. We are looking upon much younger rocks geologically than we see at home, and they have the tints and texture of youth. The landscape and the mountains look young, because they look unfinished, like a house half up. The workmen have but just knocked off work to go to dinner; their great trenches, their freshly opened quarries, their huge dumps, their foundations, their cyclopean masonry, their half -finished structures breaking the horizon-lines, their square gashes through the mountains, — all impress the eyes of a traveler from the eastern part of the continent, where the earthbuilding and earth-carving forces finished their work ages ago.

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Hence it is that when one reaches the Grand Canon of the Colorado, if he has kept his eyes and mind open, he is prepared to see striking and unusual things. But he cannot be fully prepared for just what he does see, no matter how many pictures of it he may have seen, or how many descriptions of it he may have read.

A friend of mine who took a lively interest in my Western trip wrote me that he wished he could have been present with his kodak when we first looked upon the Grand Caiion. Did he think he could have got a picture of our souls ? His camera would have shown him only our silent, motionless forms as we stood transfixed by that first view of the stupendous spectacle. Words do not come readily to one's lips, or gestures to one's body, in the presence of such a scene. One of my companions said that the first thing that came into her mind was the old text, "Be still, and know that I am God." To be still on such an occasion is the easiest thing in the world, and to feel the surge of solemn and reverential emotions is equally easy; is, indeed, almost inevitable. The immensity of the scene, its tranquillity, its order, its strange, new beauty, and the monumental character of its many forms — all these tend to beget in the beholder an attitude of silent wonder and solemn admiration. I wished at the moment that we might have been alone with the glorious spectacle, — that we had hit upon an hour when the public had gone to dinner. The smoking and joking tourists sauntering along in apparent indifference, or sitting with their backs to the great geologic drama, annoyed me. I pity the person who can gaze upon the spectacle unmoved. Some are actually terrified by it. I was told of a strong man, an eminent lawyer from a Western city, who literally fell to the earth at the first view, and could not again be induced to look upon it. I saw a woman prone upon the ground near the brink at Hopi Point, weeping silently and long; but from what she afterward told me I know it was not from terror or sorrow, but from the overpowering gladness of the ineffable beauty and harmony of the scene. It moved her like the grandest music. Her inebriate soul could find relief only in tears.

Harriet Monroe was so wrought up by the first j view that she says she had to fight against the desperate temptation to fling herself down into the soft abyss, and thus redeem the affront which the very beating of her heart had offered to the inviolable solitude. Charles Dudley Warner said of it, " I experienced for a moment an indescribable terror of nature, a confusion of mind, a fear to be alone in such a presence."

It is beautiful, oh, how beautiful! but it is a beauty that awakens a feeling of solemnity and awe.

We call it the "Divine Abyss." It seems as much of heaven as of earth. Of the many descriptions of it, none seems adequate. To rave over it, or to pour into it a torrent of superlatives, is of little avail. My companion came nearer the mark when she quietly repeated from Revelation, "And he carried me away in the spirit to a great and high mountain, and shewed me that great city, the holy Jerusalem." It does, indeed, suggest a far-off, half -sacred antiquity, some greater Jerusalem, Egypt, Babylon, or India. We speak of it as a scene: it is more like a vision, so foreign is it to all other terrestrial spectacles, and so surpassingly beautiful.

To ordinary folk the sight is so extraordinary, so unlike everything one's experience has yielded, and so unlike the results of the usual haphazard working of the blind forces of nature, that I did not wonder when people whom I met on the rim asked me what I supposed did all this. I could even sympathize with the remark of an old woman visitor who is reported to have said that she thought they had built the canon too near the hotel. The enormous cleavage which the cation shows, the abrupt drop from the brink of thousands of feet, the sheer faces of perpendicular walls of dizzy height, give at first the impression that it is all the work of some titanic quarryman, who must have removed cubic miles of strata as we remove cubic yards of earth.

Go out to Hopi Point or O'Neil's Point, and, as 48 you emerge from the woods, you get a glimpse of a blue or rose-purple gulf opening before you. The solid ground ceases suddenly, and an aerial perspective, vast and alluring, takes its place; another heaven, countersunk in the earth, transfixes you on the brink. " Great God ! " I can fancy the first beholder of it saying, "what is this? Do I behold the transfiguration of the earth? Has the solid ground melted into thin air? Is there a firmament below as well as above? Has the earth veil at last been torn aside, and the red heart of the globe been laid bare?" If this first witness was not at once overcome by the beauty of the earthly revelation before him, or terrified by its strangeness and power, he must have stood long, awed, spellbound, speechless with astonishment, and thrilled with delight. He may have seen vast and glorious prospects from mountain-tops, he may have looked down upon the earth and seen it unroll like a map before him; but he had never before looked into the earth as through a mighty window or open door, and beheld depths and gulfs of space, with their atmospheric veils and illusions and vast perspectives, such as he had seen from mountain-summits, but with a wealth of color and a suggestion of architectural and monumental remains, and a strange, almost unearthly beauty, such as no mountain-view could ever have afforded him. Three features of the canon strike one at once : its unparalleled magnitude, its architectural forms and suggestions, and its opulence of color effects — a chasm nearly a mile deep and from ten to twenty miles wide, in which Niagara would be only as a picture upon your walls, in which the Pyramids, seen from the rim, would appear only like large tents, in which the largest building upon the earth would dwindle to insignificant proportions.

There are amphitheatres and mighty aisles eight miles long and three or four miles wide and three or four thousand feet deep. There are room-like spaces eight hundred feet high; there are well-defined alcoves with openings a mile wide; there are niches six hundred feet high overhung by arched lintels; there are pinnacles and rude statues from one hundred to two hundred feet high. Here I am running at once into allusions to the architectural features and suggestions of the caiion, which must play a prominent part in all faithful attempts to describe it. There are huge, truncated towers, vast, horizontal mouldings; there is the semblance of balustrades on the summit of a noble fagade. In one of the immense halls we saw, on an elevated platform, the outlines of three enormous chairs, fifty feet or more high, and behind and above them the suggestion of three more chairs in partial ruin. Indeed, there is such an opulence of architectural forms in this divine abyss as one has never before dreamed of seeing wrought by the blind forces of nature. These forces have here foreshadowed all the noblest architecture of the world. Many of the vast carved and ornamental masses which diversify the canon have been fitly named temples, as Shiva's Temple, a mile high, carved out of the red Carboniferous limestone, and remarkably symmetrical in its outlines. Near it is the Temple of Isis, the Temple of Osiris, the Buddha Temple, the Horus Temple, and the Pyramid of Cheops. Farther to the east is the Diva Temple, the Brahma Temple, the Temple of Zoroaster, and the Tomb of Odin. Indeed, everywhere are there suggestions of temples and tombs, pagodas and pyramids, on a scale that no work of human hands can rival. "The grandest objects," says Major Dutton," are merged in a congregation of others equally grand." With the wealth of form goes a wealth of color. Never, I venture to say, were reds and browns and grays and vermilions more appealing to the eye than they are as they softly glow in this great canon. The color-scheme runs from the dark, sombre hue of the gneiss at the bottom, up through the yellowish brown of the Cambrian layers, and on up through seven or eight broad bands of varying tints of red and vermilion, to the broad yellowish-gray at the top.

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The north side of the canon has been much more deeply and elaborately carved than the south side; most of the great architectural features are on the north side — the huge temples and fortresses and amphitheatres. The strata dip very gently to the north and northeast, while the slope of the surface is to the south and southeast. This has caused the drainage from the great northern plateaus to flow into the canon and thus cut and carve the north side as we behold it.

The visitor standing upon the south side looks across the great chasm upon the bewildering maze of monumental forms, some of them as suggestive of human workmanship as anything in nature well can be, — crumbling turrets and foundations, forms as distinctly square as any work of man's hands, vast fortress-like structures with salients and entering angles and wing walls resisting the siege of time, huge pyramidal piles rising story on story, three thousand feet or more above their foundations, each successive story or superstructure faced by a huge vertical wall which rises from a sloping talus that connects it with the story next below. The slopes or taluses represent the softer rock, the vertical walls the harder layers. Usually four or five of these receding stories make up each temple or pyramid. Some of the larger structures show all the strata from the cap of light Carboniferous limestone at the top to the gray Cambrian sandstone at the bottom. From others, such as the Temple of Isis, all the upper formations are gone with a pile of disintegrated red sandstone, like a mass of brick dust on the top where the fragment of the old red wall made its last stand. In those masses, which are still crowned with the light gray limestone, one sees how surely the process of disintegration is going on by the fragments and debris of light gray rock, like the chips of giant workmen, that strew the deepercolored slopes below them. These fragments fade out as the eye drops down the slopes, as if they had melted like bits of ice. Indeed, the melting of ice and the dissolution of a rock do not differ much except that one is very rapid and the other infinitely slow. In time (not man's time, but the Lord's time), all these light masses that cap the huge temples will be weathered away, yea, and all the vast red layers beneath them, and the huge structures will be slowly consumed by time. The Colorado River will carry their ashes to the sea, and where they once stood will be seen gray, desert-like plateaus. Their outlines now stand out like skeletons from which the flesh has been removed — sharp, angular, obtrusive, but bound together as by ligaments of granite. The tooth of time gnaws at them day and night and has been gnawing for thousands of centuries, so that in some cases only their stumps remain. From the Temple of Isis and the Tomb of Odin the two or three upper stories are gone.

On the next page is the ground plan of the Temple of Isis, about twenty-five hundred feet high. The first story is about a thousand feet; the second, three hundred and fifty feet; the third, one hundred and fifty feet; the fourth, five hundred feet; and the fifth, five hundred feet. The finish at the top shows

as a heavy crumbling wall, probably one hundred feet or more high. How the mass seems to be resisting the siege of time, throwing out its salients here and there, and meeting the onset of the foes like a military engineer.

The pyramidal form of these rock-masses is accounted for by the fact that they were carved out from the top downward, and that each successive story is vastly older than the one immediately beneath it. The erosive forces have been working whole geologic ages longer on the top layer of rock than on the bottom layer; hence the topmost ones are entirely gone or else reduced to small dimensions. But what feature or quality of the rock it is that lends itself so readily or so inevitably to these architectural forms — the four square foundations, the end pilasters and balustrades, and so on — is to me not so clear. The peculiar rectangular jointings, the alternation of soft and hard layers, the nearly horizontal strata, and other things, no doubt, enter into the problem. Many of these features are found in our older geology of the East, as in the Catskills — horizontal strata, hard and soft layers alternating, but with the vertical jointing less pronounced;

hence the Catskills have few canon-like valleys, though there are here and there huge gashes through the mountains that give a canon effect, and there are gigantic walls high up on the face of some of the mountains that suggest one side of a mighty canon. In the climate of the Catskills the rock-masses of the Colorado would crumble much more rapidly than they do here. The lines of many of these natural temples or fortresses are still more lengthened and attenuated than those of the Temple of Isis, appearing like mere skeletons of their former selves. The forms that weather out the formation above this, the Permian, appear to be more rotund, and tend more to domes and rounded hills.

One of the most surprising features of the Grand Canon is its cleanness — its freedom from debris. It is a home of the gods, swept and garnished; no litter or confusion or fragments of fallen and broken rocky walls anywhere. Those vast sloping taluses are as clean as a meadow; rarely at the foot of the huge vertical walls do you see a fragment of fallen rock. It is as if the processes of erosion and degradation were as gentle as the dews and the snows, and carved out this mighty abyss grain by grain, which has probably been the case. That much of this red sandstone, from the amount of iron it contains, or from some other cause, disintegrates easily and rapidly, is very obvious. Looking down from Hopi Point upon a vast ridge called the " Man-of-

War," one sees on the top, where once there must have been a huge wall of rock, a long level area of red soil that suggests a garden, the more so because it is regularly divided up into sections by straight lines of huge stone placed as if by the hands of man.

One's sense of the depths of the canon is so great that it almost makes one dizzy to see the little birds fly out over it, or plunge down into it. One seems to fear that they too will get dizzy and fall to the bottom. We watched a line of tourists on mules" creeping along the trail across the inner plateau, and the unaided eye had trouble to hold them; they looked like little red ants. The eye has more difficulty in estimating sizes and distances beneath it than when they are above or on a level with it, because it is so much less familiar with depth than with height or lateral dimensions.

Another remarkable and unexpected feature of the canon is its look of ordered strength. Nearly all the lines are lines of greatest strength. The prevailing profile line everywhere is that shown herewith. The upright lines represent lines of cyclopean masonry, and the slant is the talus that connects them, covered with a short, sage-colored growth of some kind, and as soft to the eye as the turf of our fields. The simple, strong structural lines assert them- 56 selves everywhere, and give that look of repose and security characteristic of the scene. The rocky forces always seem to retreat in good order before the onslaught of time; there is neither rout nor confusion; everywhere they present a calm upright front to the foe. And the fallen from their ranks, where are they? A cleaner battlefield between the forces of nature one rarely sees.