The western face of the tunnel, near which we dismount, continues partly concealed from view, or is imperfectly exposed, until we nearly approach it, the immense rock which is perforated being here dressed with the thick foliage of the spruce-pine, and the harsh surface adorned with a beautiful tracery of vines and creepers. At last is seen the entrance of what appears to be a huge subterraneous cavern or grotto, into which the stream disappears; a towering rock rising here about two hundred feet above the surface of the stream, and a rude entrance gouged into it, varying in width, as far as the eye can reach, from one hundred to one hundred and fifty feet, and rising in a clear vault from seventy to eighty feet above the floor. The view here terminates in the very blackness of darkness; it is broken on the first curve of the tunnel. The bed of the stream, from which the water has disappeared on account of the drouth, the reduced currents sinking to lower subterranean channels, is piled with great irregular rocks, on the sharp points of which we stumble and cut our hands: there is no foothold but on rocks, and it is only when we have struggled through the awful, cruel darkness, holding up some feeble lights in it, and issued into the broad sunshine, that we find we have travelled nearly two hundred yards (or say, more exactly, five hundred feet) through one solid rock, in which there is not an inch of soil, not a seam, not a cleft, and which, even beyond the debouchure of the tunnel, yet runs away a hundred yards in a wall five hundred feet high, as clean and whetted as the work of the mason.
But we must not anticipate this majestical scene, “wonderful beyond all wondrous measure.” Happily, in entering the tunnel from the western side we have adopted the course of exploration which affords a gradual ascent of the emotions, until at last they tower to the standard of a perfect sublimity. The course of the tunnel may be described as a continuous curve: it resembles, indeed, a prostrate ഗ. For a distance of twenty yards midway of this course we are excluded from a view of either entrance, and the darkness is about that of a night with one quarter of the moon. The vault becomes lower here—in some places scarcely more than thirty feet high—and springs immediately from the floor. The situation is awful and oppressive: the voice sounds unnatural, and rumbles strangely and fearfully along the arch of stone. We are encoffined in the solid rock: there is a strange pang in the beating heart in its imprisonment, so impenetrable, black, hopeless, and we hurry to meet the light of day. In that light we are disentombed: we cast off the confinements of the black space through which we have passed, and we are instantly introduced to a scene so luminous and majestic that in a moment our trembling eyes are captivated and our hearts lifted in unutterable worship of the Creator’s works.
It is that sheer wall of rock which we have already mentioned, where the arch and other side of the tunnel break away into the mountain slope; a high wall, slightly impending; an amphitheatre, extending one hundred yards, of awful precipices; a clean battlement, without a joint in it, five hundred feet high. And this splendid height and breadth of stone, that a thousand storms have polished, leaving not a cleft of soil in it,—this huge, unjointed masonry raised against the sky, gray and weather-stained, with glittering patches of light on it,—is yet part of the same huge rock which towered at the farther end of the tunnel, and through whose seamless cavity we have travelled two hundred yards. It is in this view that the mystery of the scene seizes the mind, and the last element of sublimity is added to it. It is in this view that the Natural Tunnel we had come to see as a mere “curiosity” takes rank among the greatest wonders of the world. What power, what possible imaginable agency of nature, could have worked out this stupendous scene?...
Turning our eyes away from the battlement of rock to the opposite side of the ravine, a new revelation of the grand and picturesque awaits us. Here a gigantic cliff, but one broken with rock and soil, and threaded to its summit by a sapling growth of the buckeye, the linden, and the pine, rises almost perpendicularly from the water’s edge to a height almost equal to that of the opposite wall of rock. A natural platform is seen to project over it, and yet a few yards farther there is an insulated cliff, a cyclopean chimney, so to speak, scarcely more than a foot square at its top, rising in the form of a turret at least sixty feet above its basement, which is a portion of the imposing cliff we have mentioned. It is at once perceived that here are two points of view that will give us new and perhaps the most imposing aspects of the scene. To attain these points, however, it is necessary to make a circuit of half a mile; and the sinking sun admonishes us to defer this new interest of the scene until to-morrow....
We remounted for the tunnel in the early morning, and were soon to find that the rising sun was to give a new and unexpected glory to the scene. This time we ascend the mountain instead of deflecting as before. The road is easy; there are no difficulties of access to the points of view from the top of the tunnel, and they are undoubtedly the grandest. We pass to the platform before described by a few steps from the main road. It is a slab of rock projecting from an open patch of ground; a dead cedar-tree is standing at its edge, throwing its gnarled and twisted arms, as in wild and widowed sorrow, over the awful scene below. We now see the great opposite amphitheatre of rock in added grandeur, for we see it from above,—we see it across a chasm nine hundred feet wide and five hundred feet deep, and the exposure being almost exactly eastern, the long spears of the rising sun are being shattered on it. The effect is inexpressibly grand. But there is one more circumstance to be added to the scene; we do not see from this observatory the arch, the entrance of the tunnel. A few yards farther the fearful chimney-shaped rock invites to a more commanding view, but the ascent is dangerous; the stone on top is loose, and so narrow that two persons can scarcely stand on it. A single misstep, a moment’s loss of balance, and we would fall into eternity. But now the sense of peril is lost, or is rather mingled, in the grandeur of the scene. It is a panoramic view. We have now the whole sweep of the mural precipice opposite; the sun’s glitter is incessant on the polished stone; the trees which fringe the bottom appear now scarcely more than shrubs; the entrance of the tunnel has now come into view, and that which yesterday we thought so high and wide, now appears, from our amazing height, as a stooped door-way. We imagine the gloomy entrance into a cave of Erebus and Death, the broken rocks lying within which look like black and mangled entrails. It is a fearful picture,—it is that of a supernatural abode.
[This marvel of nature is not without its tradition,—one of Indian origin,—in which is repeated, with suitable variations, the familiar Lover’s Leap narrative. A more prosaic and modern interest attaches to it, in its having been chosen as the route of a railroad, nature’s contribution of a passage through a difficult mountain wall.]