Tales of lonely trails

by Zane Grey

Then we plodded on again. Wetherill worked around to circle the huge amphitheater. The way was a steep slant, rough and loose and dragging. The rocks were as hard and jagged as lava, and cactus hindered progress. Soon the rosy and golden lights had faded. All the walls turned pale and steely and the bridge loomed dark.

We were to camp all night under the bridge. Just before we reached it Nas ta Bega halted with one of his singular motions. He was saying his prayer to this great stone god. Then he began to climb straight up the steep slope. Wetherill told me the Indian would not pass under the arch.

When we got to the bridge and unsaddled and unpacked the lame mustangs twilight had fallen. The horses were turned loose to fare for what scant grass grew on bench and slope. Firewood was even harder to find than grass. When our simple meal had been eaten there was gloom gathering in the canyon and stars had begun to blink in the pale strip of blue above the lofty walls. The place was oppressive and we were mostly silent.

Presently I moved away into the strange dark shadow cast by the bridge. It was a weird black belt, where I imagined I was invisible, but out of which I could see. There was a slab of rock upon which I composed myself, to watch, to feel.

A stiffening of my neck made me aware that I had been continually looking up at the looming arch. I found that it never seemed the same any two moments. Near at hand it was too vast a thing for immediate comprehension. I wanted to ponder on what had formed it—to reflect upon its meaning as to age and force of nature. Yet it seemed that all I could do was to see. White stars hung along the dark curved line. The rim of the arch appeared to shine. The moon was up there somewhere. The far side of the canyon was now a blank black wall. Over its towering rim showed a pale glow. It brightened. The shades in the canyon lightened, then a white disk of moon peeped over the dark line. The bridge turned to silver.

It was then that I became aware of the presence of Nas ta Bega. Dark, silent, statuesque, with inscrutable face uplifted, with all that was spiritual of the Indian suggested by a somber and tranquil knowledge of his place there, he represented to me that which a solitary figure of human life represents in a great painting. Nonnezoshe needed life, wild life, life of its millions of years—and here stood the dark and silent Indian.

Long afterward I walked there alone, to and fro, under the bridge. The moon had long since crossed the streak of star-fired blue above, and the canyon was black in shadow. At times a current of wind, with all the strangeness of that strange country in its moan, rushed through the great stone arch. At other times there was silence such as I imagined might have dwelt deep in the center of the earth. And again an owl hooted, and the sound was nameless. It had a mocking echo. An echo of night, silence, gloom, melancholy, death, age, eternity!

The Indian lay asleep with his dark face upturned, and the other sleepers lay calm and white in the starlight. I seemed to see in them the meaning of life and the past—the illimitable train of faces that had shone under the stars. There was something nameless in that canyon, and whether or not it was what the Indian embodied in the great Nonnezoshe, or the life of the present, or the death of the ages, or the nature so magnificently manifested in those silent, dreaming, waiting walls—the truth was that there was a spirit.

I did sleep a few hours under Nonnezoshe, and when I awoke the tip of the arch was losing its cold darkness and beginning to shine. The sun had just risen high enough over some low break in the wall to reach the bridge. I watched. Slowly, in wondrous transformation, the gold and blue and rose and pink and purple blended their hues, softly, mistily, cloudily, until once more the arch was a rainbow.