The Heart of the White Mountains, Their Legend and Scenery / Tourist's Edition

by Samuel Adams Drake

Some overpowering, some unexplained fascination about these dark and mysterious chambers of the mountain arouses in us a desire strangely like to that intense craving for a knowledge of futurity itself. We think of the Purgatory of the ancients into which we would willingly descend if, like Dante holding the hand of Virgil, we might hope to return unscathed to earth. “This is nothing but an enormous breach in the mountain,” you say, weakly attempting to throw off the spell by ridiculing the imagination. Be it so. But it has all the terrible suggestiveness of a descent into the world of the dead. When we walk in the dark we say that we are afraid of falling. It is a falsehood. We are afraid of a Presence.

That dark curling lip of the south wall, looking as if the eternal adamant of the hills had been scorched and shrivelled by consuming flame, marks the highest curve of the massive granite spur rooted deep in the Pinkham defile. It is named Boott’s Spur. The sky-line of the ravine’s head-wall is five thousand feet above the sea, on the great plateau over which the Crawford trail passes. That enormous crag, rising like another Tower of Famine, on the north and east divides the ravine proper from the collateral chamber, known as Huntington’s, out of which the source of the Peabody gushes a swift torrent, and near which the carriage-road winds its devious way up to the summit. In the depression of this craggy ridge, between the two ravines, sufficient water is collected to form the beautiful cataract known as Raymond’s, which is seen from all those elevations commanding the ravine itself.

The ravine also furnishes a route to the summit of Mount Washington in so far that the ascent may be continued from the head of the chasm to the high plateau, and so up the pinnacle, by the old Crawford trail, or over the crag on the right to the carriage-road; but it is not to be highly recommended on that account, except to strong climbers. It should be visited for itself, and for what is to be seen going or returning by the different paths. I have also descended from the Summit House to the ravine and returned by the same route; an excursion growing in favor with those tourists having a day or two on their hands, and who approach the mountain from the west or opposite side. In that case a return to the summit saves a long détour.

Before we come to Thompson’s Falls a well-trod path leads to the Emerald Pool, which Bierstadt’s painting has rendered famous. At first one sees only a deep hollow, with a dark and glassy pool at the bottom, and a cool light coming down through the high tree-tops. Two large rocks tightly compress the stream which fills it, so that the water gushes out with sufficient force to whiten a little, without disturbing the placid repose of the pool. This gives the effect of milk poured upon ink. Above these rocks we look up the stony bed of the frantic river and meet the blue mass of a distant mountain. Rocks are picturesquely dropped about the margin. Upon one side a birch leans far out over the basin, whose polished surface brilliantly reflects the white light of its bark. One sees the print of foliage on the black water, like that of ferns and grasses upon coal; or, rather, like the most beautiful Italian mosaics—black marble inlaid with arabesques of color. The illusion is more perfect still when the yellow and scarlet of the maples is reflected, as in autumn.

The contrast between the absolutely quiet pool and the feverish excitement of the river is singular. It is that of a life: one, serene and unmoved, receives the other in its bosom and calms its excitement. It then runs out over the pebbles at a steadier pace, soothed, tranquillized, and strengthened, to meet its destiny by this one moment of peace and rest.

Doubtless many turn languidly into this charming sylvan retreat with only a dim perception of its beauty. Few go away except to sing its praises with heart and tongue. Solitude is here. Repose is here. Peace is omnipresent. And, freed from the excitements of city life, “Peace at any price” is the cry of him whom care pursues as with a knotted scourge. If he find not rest here, ‘tis his soul “is poor.” For him the smell of the earth, the fragrance of the pines, the very stones, have healing or strength. He grows drowsy with the lullaby of the brook. A delicious languor steals over him. A thousand dreamy fancies float through his imagination. He is a child again; or, rather, he is born again. The artificial man drops off. Stocks and bonds are clean forgotten. His step is more elastic, his eye more alert, his heart lighter. He departs believing he has read, “Let all who enter here leave care behind.” And all this comes of seeing a little shaded mountain pool consecrated by Nature. He has only experienced her religion and received her baptism.

Burying ourselves deeper in the pass, the trees, stirred by the breeze, shake out their foliage like a maiden her long tresses. And the glory of one is the glory of the other. We look up to the greater mountains, still wrapped in shadows, saying to those whom its beams caress, “Out of my sun!”

At the third mile a guide-board at the right announces the Crystal Cascade. We turn aside here, and, entering the wood, soon reach the banks of a stream. The last courtesy this white-robed maid makes on crossing the threshold of her mountain home is called the Crystal Cascade. It is an adieu full of grace and feeling.