Part 14

The average rise and fall of the tide is about three feet (varying considerably with the season); but this fall, on so flat a shore, is enough to cause continual movement in the waters, and in the main canals to produce a reflux which frequently runs like a mill stream. At high water no land is visible for many miles to the north or south of Venice, except in the form of small islands crowned with towers or gleaming with villages; there is a channel, some three miles wide, between the city and the mainland, and some mile and a half wide between it and the sandy breakwater called the Lido, which divides the lagoon from the Adriatic, but which is so low as hardly to disturb the impression of the city’s having been built in the midst of the ocean, although the secret of its true position is partly, yet not painfully, betrayed by the clusters of piles set to mark the deep water channels, which undulate far away in spotty chains like the studded backs of huge sea-snakes, and by the quick glittering of the crisped and crowded waves that flicker and dance before the strong winds upon the unlifted level of the shallow sea. But the scene is widely different at low tide. A fall of eighteen or twenty inches is enough to show ground over the greater part of the lagoon; and at the complete ebb, the city is seen standing in the midst of a dark plain of seaweed, of gloomy green, except only where the larger branches of the Brenta and its associated streams converge towards the port of the Lido. Through this salt and sombre plain the gondola and the fishing-boat advance by tortuous channels, seldom more than four or five feet deep, and often so choked with slime that the heavier keels furrow the bottom till their crossing tracks are seen through the clear sea water like the ruts upon a wintry road, and the oar leaves the gashes upon the ground at every stroke, or is entangled among the thick weed that fringes the banks with the weight of its sullen waves, leaning to and fro upon the uncertain sway of the exhausted tide. The

## scene is often profoundly oppressive, even at this day, when every plot

of higher ground bears some fragment of fair building: but, in order to know what it was once, let the traveller follow in his boat at evening the windings of some unfrequented channel far into the midst of the melancholy plain; let him remove in his imagination, the brightness of the great city that still extends itself in the distance, and the walls and towers from the islands that are near; and so wait, until the bright investiture and sweet warmth of the sunset are withdrawn from the waters, and the black desert of their shore lies in its nakedness beneath the night, pathless, comfortless, infirm, lost in dark languor and fearful silence, except where the salt rivulets plash into the tideless pools, or the sea-birds flit from their margins with a questioning cry; and he will be enabled to enter in some sort into the horror of heart with which this solitude was anciently chosen by man for his habitation. They little thought, who first drove the stakes into the sand, and strewed the ocean reeds for their rest, that their children were to be the princes of the ocean, and their palaces its pride; and yet, in the great natural laws that rule that sorrowful wilderness, let it be remembered what strange preparation had been made for the things which no human imagination could have foretold, and how the whole existence and fortune of the Venetian nation were anticipated or compelled, by the setting of those bars and doors to the rivers and the sea. Had deeper currents divided their islands, hostile navies would again and again have reduced the rising city into servitude; had stronger surges beaten their shores, all the riches and refinement of the Venetian architecture must have been exchanged for the walls and bulwarks of an ordinary seaport. Had there been no tide, as in other parts of the Mediterranean, the narrow canals of the city would have become noisome, and the marsh in which it was built pestiferous. Had the tide been only a foot or eighteen inches higher in its rise, the water access to the doors of the palaces would have been impossible: even as it is, there is sometimes a little difficulty, at the ebb, in landing without setting foot upon the lower and slippery steps; and the highest tides sometimes enter the courtyards, and overflow the entrance halls. Eighteen inches more of difference between the level of the flood and ebb would have rendered the doorsteps of every palace, at low water, a treacherous mass of weeds and limpets, and the entire system of water-carriage for the higher classes, in their easy and daily intercourse, must have been done away with. The streets of the city would have been widened, its network of canals filled up, and all the peculiar character of the place and the people destroyed.

The reader may perhaps have felt some pain in the contrast between this faithful view of the site of the Venetian Throne, and the romantic conception of it which we ordinarily form; but this pain, if he have felt it, ought to be more than counterbalanced by the value of the instance thus afforded to us at once of the inscrutableness and the wisdom of the ways of God. If, two thousand years ago, we had been permitted to watch the slow setting of the shrine of those turbid rivers into the polluted sea, and the gaining upon its deep and fresh waters of the lifeless, impassable, unvoyageable plain, how little could we have understood the purpose with which those islands were shaped out of the void, and the torpid waters enclosed with their desolate walls of sand! How little could we have known, any more than of what now seems to us most distressful, dark, and objectless, the glorious aim which was then in the mind of Him in whose hands are all the corners of the earth! how little imagined that in the laws which were stretching forth the gloomy margins of those fruitless banks, and feeding the bitter grass among their shallows, there was indeed a preparation, and _the only preparation possible_, for the founding of a city which was to be set like a golden clasp on the girdle of the earth, to write her history on the white scrolls of the sea-surges, and to word it in their thunder, and to gather and give forth, in world-wide pulsation, the glory of the West and of the East, from the burning heart of her Fortitude and Splendour!

_The Stones of Venice_ (Sunnyside, Orpington, Kent, 1886).

THE CATARACTS OF THE NILE

(_AFRICA_)

AMELIA B. EDWARDS

At Assûan one bids good-bye to Egypt and enters Nubia through the gates of the Cataract--which is, in truth, no cataract, but a succession of rapids extending over two-thirds of the distance between Elephantine and Philæ. The Nile--diverted from its original course by some unrecorded catastrophe, the nature of which has given rise to much scientific conjecture--here spreads itself over a rocky basin bounded by sand slopes on the one side, and by granite cliffs on the other. Studded with numerous islets, divided into numberless channels, foaming over sunken rocks, eddying among water-worn boulders, now shallow, now deep, now loitering, now hurrying, here sleeping in the ribbed hollow of a tiny sand-drift, there circling above the vortex of a hidden whirlpool, the river, whether looked upon from the deck of the dahabeeyah, or the heights above the shore, is seen everywhere to be fighting its way through a labyrinth, the paths of which have never yet been mapped or sounded.

These paths are everywhere difficult and everywhere dangerous; and to that labyrinth the Shellalee, or Cataract Arab, alone possesses the key. At the time of the inundation, when all but the highest rocks are under water, and navigation is as easy here as elsewhere, the Shellalee’s occupation is gone. But as the floods subside and travellers begin to reappear, his work commences. To haul dahabeeyahs up those treacherous rapids by sheer stress of rope and muscle; to steer skillfully down again through channels bristling with rocks and boiling with foam, becomes now, for some five months of the year, his principal industry. It is hard work; but he gets well paid for it, and his profits are always on the increase. From forty to fifty dahabeeyahs are annually taken up between November and March; and every year brings a larger influx of travellers. Meanwhile, accidents rarely happen; prices tend continually upward; and the Cataract Arabs make a little fortune by their singular monopoly.

The scenery of the First Cataract is like nothing else in the world--except the scenery of the Second. It is altogether new and strange and beautiful. It is incomprehensible that travellers should have written of it in general with so little admiration. They seem to have been impressed by the wildness of the waters, by the quaint forms of the rocks, by the desolation and grandeur of the landscape as a whole; but scarcely at all by its beauty--which is paramount.

The Nile here widens to a lake. Of the islands, which it would hardly be an exaggeration to describe as some hundreds in number, no two are alike. Some are piled up like the rocks at the Land’s End in Cornwall, block upon block, column upon column, tower upon tower, as if reared by the hand of man. Some are green with grass; some golden with slopes of drifted sand; some are planted with rows of blossoming lupins, purple and white. Others are again mere cairns of loose blocks, with here and there a perilously balanced top-boulder. On one, a singular upright monolith, like a menhir, stands conspicuous, as if placed there to commemorate a date, or to point the way to Philæ. Another mass rises out of the water squared and buttressed, in the likeness of a fort. A third, humped and shining like the wet body of some amphibious beast, lifts what seems to be a horned head above the surface of the rapids. All these blocks and boulders and fantastic rocks are granite; some red, some purple, some black. Their forms are rounded by the friction of ages. Those nearest the brink reflect the sky like mirrors of burnished steel. Royal ovals and hieroglyphed inscriptions, fresh as of yesterday’s cutting, stand out here and there from those glittering surfaces with startling distinctness. A few of the larger islands are crowned with clumps of palms; and one, the loveliest of any, is completely embowered in gum-trees and acacias, dôm and date-palms, and feathery tamarisks, all festooned together under a hanging canopy of yellow-blossomed creepers.

[Illustration: FIRST CATARACT OF THE NILE.]

On a brilliant Sunday morning, with a favourable wind, we entered on this fairy archipelago. Sailing steadily against the current, we glided away from Assûan, left Elephantine behind, and found ourselves at once in the midst of the islands. From this moment every turn of the tiller disclosed a fresh point of view, and we sat on deck, spectators of a moving panorama. The diversity of subjects was endless. The combinations of form and colour, of light and shadow, of foreground and distance, were continually changing. A boat or a few figures alone were wanting to complete the picturesqueness of the scene, but in all those channels and among all those islands, we saw no sign of any living creature.

The Second or Great Cataract, begins a little way above Wady Halfeh and extends over a distance of many miles. It consists, like the First Cataract, of a succession of rocks and rapids, and is skirted for the first five miles or so by the sand-cliff ridge, which, as I have said, forms a background to the ruins just opposite Wady Halfeh. This ridge terminates abruptly in the famous precipice known as the Rock of Abusîr. Only adventurous travellers bound for Dongola or Khartûm go beyond this point; and they, for the most part, take the shorter route across the desert from Korosko.

It is hard, now that we are actually here, to realize that this is the end of our journey. The Cataract--an immense multitude of black and shining islets, among which the river, divided into hundreds of separate channels, spreads far and wide for a distance, it is said of more than sixteen miles,--foams at our feet. Foams, and frets, and falls; gushing smooth and strong where its course is free; murmuring hoarsely where it is interrupted; now hurrying; now loitering; here eddying in oily circles; there lying in still pools unbroken by a ripple; everywhere full of life, full of voices; everywhere shining to the sun. Northwards, when it winds away towards Abou Simbel, we see all the fantastic mountains of yesterday on the horizon. To the east, still bounded by out-liers of the same disconnected chain, lies a rolling waste of dark and stony wilderness, trenched with innumerable valleys through which flow streams of sand. On the western side, the continuity of the view is interrupted by the ridge which ends with Abusîr. Southward the Libyan desert reaches away in one vast undulating plain; tawny, arid, monotonous; all sun; all sand; lit here and there with arrowy flashes of the Nile. Farthest of all, pale but distinct, on the outermost rim of the world, rise two mountain summits, one long, one dome-like. Our Nubians tell us that they are the mountains of Dongola. Comparing our position with that of the Third Cataract as it appears upon the map, we come to the conclusion that these ghost-like silhouettes are the summits of Mount Fogo and Mount Arambo--two apparently parallel mountains situate on opposite sides of the river about ten miles below Hannek, and consequently about one hundred and forty-five miles, as the bird flies, from the spot on which we are standing.

In this extraordinary panorama, so wild, so weird, so desolate, there is nothing really beautiful, except the colour. But the colour is transcendent. Never, even in Egypt, have I seen anything so tender, so transparent, so harmonious. I shut my eyes, and it all comes before me. I see the amber of the sands; the pink and pearly mountains; the Cataract rocks all black and purple and polished; the dull grey palms that cluster here and there upon the larger islands; the vivid verdure of the tamarisks and pomegranates; the Nile, a greenish brown flecked with yeasty foam; over all, the blue and burning sky, permeated with light, and palpitating with sunshine.

I made no sketch. I felt that it would be ludicrous to attempt it. And I feel now that any endeavour to put the scene into words is a mere presumptuous effort to describe the indescribable. Words are useful instruments; but, like the etching needle and the burin, they stop short at form. They cannot translate colour.

If a traveller pressed for time asked me whether he should or should not go as far as the Second Cataract, I think I should recommend him to turn back from Abou Simbel. The trip must cost four days; and if the wind should happen to be unfavourable either way, it may cost six or seven. The forty miles of river that have to be twice traversed are the dullest on the Nile; the Cataract is but an enlarged and barren edition of the Cataract between Assûan and Philæ; and the great view, as I have said, has not that kind of beauty which attracts the general tourist.

It has an interest, however, beyond and apart from that of beauty. It rouses one’s imagination to a sense of the greatness of the Nile. We look across a world of desert, and see the river still coming from afar. We have reached a point at which all that is habitable and familiar comes abruptly to an end. Not a village, not a bean-field, not a shâdûf, not a sakkieh, is to be seen in the plain below. There is no sail on these dangerous waters. There is no moving creature on these pathless sands. But for the telegraphic wires stalking ghost-like, across the desert, it would seem as if we had touched the limit of civilization, and were standing on the threshold of a land unexplored.

Yet for all this, we feel as if we were at only the beginning of the mighty river. We have journeyed well-nigh a thousand miles against the stream; but what is that to the distance which still lies between us and the Great Lakes? And how far beyond the Great Lakes must we seek for the source that is even yet undiscovered?

_A Thousand Miles Up the Nile_ (London, 1890).

IN THE ALPS

(_SWITZERLAND_)

THÉOPHILE GAUTIER

The foot of the high mountains that form the chain of Mount Blanc, clothed with forests and pastures, revealed hues of delightful intensity and vigour. Imagine an immense piece of green velvet crumpled into large folds like the curtain of a theatre with the deep black of its hollows and the golden glitterings of its lights; this is a very faint image for the grandeur of the object, but I know of none that could better describe the effect.

Scheele’s green, mineral green, all those greens that result from the combinations of Prussian blue and yellow ochre, or Naples yellow, the mixture of indigo and Indian yellow, Veronese green and _vert prasin_ could not reproduce that quality of green that we might properly call mountain green and which passes from velvety black into the tenderest shades of green. In this play of shades, the firs form the shadows; the deciduous trees and the spaces of meadow or moss, the lights. The undulations and the cleft ravines of the mountain break these great masses of green, this vigorous foreground, this energetic _répoussoir_, rendering the light tones of the zones, (bare of verdure and crowned by the high lights of the snows,) more vaporous and throwing them back. In the various more open places, the grass grows green in the sun; and trees resembling little black patches sown upon this light ground give it the appearance of tufted material. But when we speak of trees and firs, woods and forests, do not picture to yourselves anything but vast blots of dark moss upon the slopes of the mountains: the highest trunks there assume the proportion of a blade of grass.

The road turns towards the left, and, gliding between stones and blocks that have fallen down or drifted into the valley by means of the winter torrents and avalanches, soon enters a forest of birch-trees, firs, and larches whose openings allow you to see on the other side the _Aiguilles Rouges_ and _le Brevent_, which face Montanvert. The ascent was gentle enough and the mules climbed it with easy gait; in comparison with the road which we scaled the night before to go to the _Pierre pointue_, the route was a true alley of the Bois de Boulogne. The zigzags of the road turned at angles sufficiently long not to fatigue either the rider or his mount. The sunlight played in the foliage of the forest that we traversed and made a shadow shot through with rays float over us. Upon the rocks at the foot of the trees, mosses of emerald green gleamed and lovely little wild flowers brightly bloomed, while in the spaces through the branches a bluish mist betrayed the depth of the abyss, for the little caravan, going along single file and constantly ascending, had now reached the Caillet fountain, which is regarded as half-way up the mountain. This fountain, of excellent water, runs into a wooden trough. The mules halt there to drink. A cabin is built near the fountain and they offer you a glass of water made opalescent with a few drops of kirsch, cognac, beer, and other refreshments. We regaled our guides with a glass of brandy, which, notwithstanding their sobriety, they seemed to prefer to that diamond liquid that sprang from the rock.

From this point, the road began to grow steeper; the ascents multiplied without, however, offering any difficulties to mules or pedestrians. The air became more keen. The forest grew lighter, the trees stood at greater intervals from each other and stopped as if out of breath. They seemed to say to us, “Now, go up alone, we cannot go any further.” The rounded plateau that we mount by keeping to the right is not desolate and denuded as one would believe; a grass, sturdy enough and enamelled with Alpine flowers, forms its carpet, and when you have gone beyond it, you perceive the _châlet_ or inn of Montanvert below the _Aiguille de Charmoz_.

From this plateau you have a superb view, an astonishing, apocalyptic view, beyond all dreams. At your feet, between two banks of gigantic peaks, flows motionless, as if congealed during the tumult of a tempest, that broad river of crystal which is called the Mer de Glace, and which lower towards the plain is called the _Glacier des Bois_. The _Mer de Glace_ comes from a high altitude; it receives many glaciers as a river its tributaries. We will speak of it presently, but for the moment let us occupy ourselves with the spectacle that unfolds beneath our eyes.