Chapter 16

When Mark Twain saw the crater, "vagrant white clouds came drifting along, high over the sea and valley; then they came in couples and groups; then in imposing squadrons; gradually joining their forces, they banked themselves solidly together a thousand feet under us and totally shut out land and ocean; not a vestige of anything was left in view, but just a little of the rim of the crater circling away from the pinnacle whereon we sat, for a ghostly procession of wanderers from the filmy hosts without had drifted through a chasm in the crater wall and filed round and round, and gathered and sunk and blended together till the abyss was stored to the brim with a fleecy fog. Thus banked, motion ceased, and silence reigned. Clear to the horizon, league on league, the snowy folds, with shallow creases between, and with here and there stately piles of vapory architecture lifting themselves aloft out of the common plain--some near at hand, some in the middle distances, and others relieving the monotony of the remote solitudes. There was little conversation, for the impressive scene overawed speech. I felt like the Last Man, neglected of the judgment, and left pinnacled in mid-heaven, a forgotten relic of a vanished world."

The extraordinary perfection of this desert crater is probably due to two causes. Vents which tapped it far down the volcano's flanks prevented its filling with molten lava; absence of rain has preserved its walls intact and saved its pristine beauty from the defacement of erosion.

Haleakala has its legend, and this Jack London has sifted to its elements and given us in "The Cruise of the _Snark_." I quote:

"It is told that long ago, one Maui, the son of Hina, lived on what is now known as West Maui. His mother, Hina, employed her time in the making of kapas. She must have made them at night, for her days were occupied in trying to dry the kapas. Each morning, and all morning, she toiled at spreading them out in the sun. But no sooner were they out than she began taking them in in order to have them all under shelter for the night. For know that the days were shorter then than now. Maui watched his mother's futile toil and felt sorry for her. He decided to do something--oh, no, not to help her hang out and take in the kapas. He was too clever for that. His idea was to make the sun go slower. Perhaps he was the first Hawaiian astronomer. At any rate, he took a series of observations of the sun from various parts of the island. His conclusion was that the sun's path was directly across Haleakala. Unlike Joshua, he stood in no need of divine assistance. He gathered a huge quantity of cocoanuts, from the fibre of which he braided a stout cord, and in one end of which he made a noose, even as the cowboys of Haleakala do to this day.

"Next he climbed into the House of the Sun. When the sun came tearing along the path, bent on completing its journey in the shortest time possible, the valiant youth threw his lariat around one of the sun's largest and strongest beams. He made the sun slow down some; also, he broke the beam short off. And he kept on roping and breaking off beams till the sun said it was willing to listen to reason. Maui set forth his terms of peace, which the sun accepted, agreeing to go more slowly thereafter. Wherefore Hina had ample time in which to dry her kapas, and the days are longer than they used to be, which last is quite in accord with the teachings of modern astronomy."

MAUNA LOA

Sixty miles south of Maui, Hawaii, largest of the island group, contains the two remaining parts of our national park. From every point of view Mauna Loa and Mauna Kea, both snow-crowned monsters approaching fourteen thousand feet of altitude, dominate the island. But Mauna Kea is not a part of the national park; Kilauea, of less than a third its height, shares that honor with Mauna Loa. Of the two, Kilauea is much the older, and doubtless was a conspicuous figure in the old landscape. It has been largely absorbed in the immense swelling bulk of Mauna Loa, which, springing later from the island soil near by, no doubt diverting Kilauea's vents far below sea-level, has sprawled over many miles. So nearly has the younger absorbed the older, that Kilauea's famous pit of molten lava seems almost to lie upon Mauna Loa's slope.

Mauna Loa soars 13,675 feet. Its snowy dome shares with Mauna Kea, which rises even higher, the summit honors of the islands. From Hilo, the principal port of the island of Hawaii, Mauna Loa suggests the back of a leviathan, its body hidden in the mists. The way up, through forests of ancient mahogany and tangles of giant tree-fern, then up many miles of lava slopes, is one of the inspiring tours in the mountain world. The summit crater, Mokuaweoweo, three-quarters of a mile long by a quarter mile wide, is as spectacular in action as that of Kilauea.

This enormous volcanic mass has grown of its own output in comparatively a short time. For many decades it has been extraordinarily frequent in eruption. Every five or ten years it gets into action with violence, sometimes at the summit, oftener of recent years since the central vent has lengthened, at weakened places on its sides. Few volcanoes have been so regularly and systematically studied.

KILAUEA

The most spectacular exhibit of the Hawaii National Park is the lake of fire in the crater of Kilauea.

Kilauea is unusual among volcanoes. It follows few of the popular conceptions. Older than the towering Mauna Loa, its height is only four thousand feet. Its lavas have found vents through its flanks, which they have broadened and flattened. Doubtless its own lavas have helped Mauna Loa's to merge the two mountains into one. It is no longer explosive like the usual volcano; since 1790, when it destroyed a native army, it has ejected neither rocks nor ashes. Its crater is no longer definitely bowl-shaped. From the middle of a broad flat plain, which really is what is left of the ancient great crater, drops a pit with vertical sides within which boil its lavas.

The pit, the lake of fire, is Halemaumau, commonly translated "The House of Everlasting Fire"; the correct translation is "The House of the Maumau Fern," whose leaf is twisted and contorted like some forms of lava. Two miles and a little more from Halemaumau, on a part of the ancient crater wall, stands the Hawaiian Volcano Observatory, which is under the control of the Massachusetts Institute of Technology. The observatory was built for the special purpose of studying the pit of fire, the risings and fallings of whose lavas bear a relationship toward the volcanism of Mauna Loa which is scientifically important, but which we need not discuss here.

The traveller enters Hawaii by steamer through Hilo. He reaches the rim of Kilauea by automobile, an inspiring run of thirty-one miles over a road of volcanic glass, bordered with vegetation strange to eyes accustomed only to that of the temperate zone--brilliant hibiscus, native hardwood trees with feathery pompons for blossoms, and the giant ferns which tower overhead. On the rim are the hotels and the observatory. Steam-jets emerge at intervals, and hot sulphur banks exhibit rich yellows. From there the way descends to the floor of the crater and unrolls a ribbon of flower-bordered road seven miles long to the pit of fire. By trail, the distance is only two miles and a half across long stretches of hard lava congealed in ropes and ripples and strange contortions. Where else is a spectacle one-tenth as appalling so comfortably and quickly reached?

Halemaumau is an irregular pit a thousand feet long with perpendicular sides. Its depth varies. Sometimes one looks hundreds of feet down to the boiling surface; sometimes its lavas overrun the top. The fumes of sulphur are very strong, with the wind in your face. At these times, too, the air is extremely hot. There are cracks in the surrounding lava where you can scorch paper or cook a beefsteak.

Many have been the attempts to describe it. Not having seen it myself, I quote two here; one a careful picture by a close student of the spectacle, Mr. William R. Castle, Jr., of Honolulu; the other a rapid sketch by Mark Twain.

"By daylight," writes Castle, "the lake of fire is a greenish-yellow, cut with ragged cracks of red that look like pale streaks of stationary lightning across its surface. It is restless, breathing rapidly, bubbling up at one point and sinking down in another; throwing up sudden fountains of scarlet molten lava that play a few minutes and subside, leaving shimmering mounds which gradually settle to the level surface of the lake, turning brown and yellow as they sink.

"But as the daylight fades the fires of the pit shine more brightly. Mauna Loa, behind, becomes a pale, gray-blue, insubstantial dome, and overhead stars begin to appear. As darkness comes the colors on the lake grow so intense that they almost hurt. The fire is not only red; it is blue and purple and orange and green. Blue flames shimmer and dart about the edges of the pit, back and forth across the surface of the restless mass. Sudden fountains paint blood-red the great plume of sulphur smoke that rises constantly, to drift away across the poisoned desert of Kau. Sometimes the spurts of lava are so violent, so exaggerated by the night, that one draws back terrified lest some atom of their molten substance should spatter over the edge of the precipice. Sometimes the whole lake is in motion. Waves of fire toss and battle with each other and dash in clouds of bright vermilion spray against the black sides of the pit. Sometimes one of these sides falls in with a roar that echoes back and forth, and mighty rocks are swallowed in the liquid mass of fire that closes over them in a whirlpool, like water over a sinking ship.

"Again everything is quiet, a thick scum forms over the surface of the lake, dead, like the scum on the surface of a lonely forest pool. Then it shivers. Flashes of fire dart from side to side. The centre bursts open and a huge fountain of lava twenty feet thick and fifty high, streams into the air and plays for several minutes, waves of blinding fire flowing out from it, dashing against the sides until the black rocks are starred all over with bits of scarlet. To the spectator there is, through it all, no sense of fear. So intense, so tremendous is the spectacle that silly little human feelings find no place. All sensations are submerged in a sense of awe."

Mark Twain gazed into Halemaumau's terrifying depths. "It looked," he writes, "like a colossal railroad-map of the State of Massachusetts done in chain lightning on a midnight sky. Imagine it--imagine a coal-black sky shivered into a tangled network of angry fire!

"Here and there were gleaming holes a hundred feet in diameter, broken in the dark crust, and in them the melted lava--the color a dazzling white just tinged with yellow--was boiling and surging furiously; and from these holes branched numberless bright torrents in many directions, like the spokes of a wheel, and kept a tolerably straight course for a while and then swept round in huge rainbow curves, or made a long succession of sharp worm-fence angles, which looked precisely like the fiercest jagged lightning. Those streams met other streams, and they mingled with and crossed and recrossed each other in every conceivable direction, like skate-tracks on a popular skating-ground. Sometimes streams twenty or thirty feet wide flowed from the holes to some distance without dividing--and through the opera-glasses we could see that they ran down small, steep hills and were genuine cataracts of fire, white at their source, but soon cooling and turning to the richest red, grained with alternate lines of black and gold. Every now and then masses of the dark crust broke away and floated slowly down these streams like rafts down a river.

"Occasionally, the molten lava flowing under the superincumbent crust broke through--split a dazzling streak, from five hundred to a thousand feet long, like a sudden flash of lightning, and then acre after acre of the cold lava parted into fragments, turned up edgewise like cakes of ice when a great river breaks up, plunged downward, and were swallowed in the crimson caldron. Then the wide expanse of the 'thaw' maintained a ruddy glow for a while, but shortly cooled and became black and level again. During a 'thaw' every dismembered cake was marked by a glittering white border which was superbly shaded inward by aurora borealis rays, which were a flaming yellow where they joined the white border, and from thence toward their points tapered into glowing crimson, then into a rich, pale carmine, and finally into a faint blush that held its own a moment and then dimmed and turned black. Some of the streams preferred to mingle together in a tangle of fantastic circles, and then they looked something like the confusion of ropes one sees on a ship's deck when she has just taken in sail and dropped anchor--provided one can imagine those ropes on fire.

"Through the glasses, the little fountains scattered about looked very beautiful. They boiled, and coughed, and spluttered, and discharged sprays of stringy red fire--of about the consistency of mush, for instance--from ten to fifteen feet into the air, along with a shower of brilliant white sparks--a quaint and unnatural mingling of gouts of blood and snowflakes."

One can descend the sides and approach surprisingly close to the flaming surface, the temperature of which, by the way, is 1750 degrees Fahrenheit.

Such is "The House of Everlasting Fire" to-day. But who can say what it will be a year or a decade hence? A clogging or a shifting of the vents below sea-level, and Kilauea's lake of fire may become again explosive. Who will deny that Kilauea may not soar even above Mauna Loa? Stranger things have happened before this in the Islands of Surprise.

THE SEDIMENTARY NATIONAL PARKS

XII

ON SEDIMENTARY ROCK IN SCENERY

The national parks which are wrought in sedimentary rocks are Glacier, Mesa Verde, Hot Springs, Platt, Wind Cave, Sully's Hill, and Grand Canyon. Zion National Monument is carved from sedimentary rock; also several distinguished reservations in our southwest which conserve natural bridges and petrified forests.

Sedimentary rocks have highly attractive scenic quality. Lying in strata usually horizontal but often inclined by earth movements, sometimes even standing on end, they form marked and pleasing contrasts with the heavy massing of the igneous rocks and the graceful undulations and occasional sharp-pointed summits of the lavas.

As distinguished from igneous rocks, which form under pressure in the earth's hot interior, and from lava, which results from volcanic eruption when fluid igneous rocks are released from pressure, sedimentary rocks are formed by the solidification of precipitations in water, like limestone; or from material resulting from rock disintegrations washed down by streams, like sandstone and shale. The beds in which they lie one above another exhibit a wide range of tint and texture, often forming spectacles of surpassing beauty and grandeur.

These strata tend to cleave vertically, sometimes producing an appearance suggestive of masonry, frequently forming impressive cliffs; but often they lie in unbroken beds of great area. When a number of well-defined strata cleave vertically, and one end of the series sags below the other, or lifts above it, the process which geologists call faulting, the scenic effect is varied and striking; sometimes, as in Glacier National Park, it is puzzling and amazing.

Many granitic and volcanic landscapes are variegated in places by accidental beds of sedimentary rock; and conversely occasional sedimentary landscapes are set off by intrusions of igneous rocks.

Besides variety of form, sedimentary rocks furnish a wide range of color derived from mineral dyes dissolved out of rocks by erosion. The gorgeous tint of the Vermilion Cliff in Utah and Arizona, the reds and greens of the Grand Canyon and Glacier National Park, the glowing cliffs of the Canyon de Chelly, and the variegated hues of the Painted Desert are examples which have become celebrated.

Geologists distinguish many kinds of sedimentary rocks. Scenically, we need consider only four: limestone, conglomerate, sandstone, and shale.

Limestone is calcium carbonate derived principally from sea-water, sometimes from fresh water, either by the action of microscopic organisms which absorb it for their shells, or occasionally by direct precipitation from saturated solutions. The sediment from organisms, which is the principal source of American scenic limestones, collects as ooze in shallow lakes or seas, and slowly hardens when lifted above the water-level. Limestone is a common and prominent scenic rock; generally it is gray or blue and weathers pale yellow. Moisture seeping in from above often reduces soluble minerals which drain away, leaving caves which sometimes have enormous size.

The other sedimentary rocks which figure prominently in landscape are products of land erosion which rivers sweep into seas or lakes, where they are promptly deposited. The coarse gravels which naturally fall first become conglomerate when cemented by the action of chemicals in water. The finer sandy particles become sandstone. The fine mud, which deposits last, eventually hardens into shale.

Shale has many varieties, but is principally hardened clay; it tends to split into slate-like plates each the thickness of its original deposit. It is usually dull brown or slate color, but sometimes, as in Glacier National Park and the Grand Canyon, shows a variety of more or less brilliant colors and, by weathering, a wide variety of kindred tints.

Sandstone, which forms wherever moving water or wind has collected sands, and pressure or chemical action has cemented them, is usually buff, but sometimes is brilliantly colored.

The processes of Nature have mixed the earth's scenic elements in seemingly inextricable confusion, and the task of the geologist has been colossal. Fortunately for us, the elements of scenery are few, and their larger combinations broad and simple. Once the mind has grasped the outline and the processes, and the eye has learned to distinguish elements and recognize forms, the world is recreated for us.

XIII

GLACIERED PEAKS AND PAINTED SHALES

GLACIER NATIONAL PARK, NORTHWESTERN MONTANA. AREA, 1,534 SQUARE MILES

I

To say that Glacier National Park is the Canadian Rockies done in Grand Canyon colors is to express a small part of a complicated fact. Glacier is so much less and more. It is less in its exhibit of ice and snow. Both are dying glacial regions, and Glacier is hundreds of centuries nearer the end; no longer can it display snowy ranges in August and long, sinuous Alaska-like glaciers at any time. Nevertheless, it has its glaciers, sixty or more of them perched upon high rocky shelves, the beautiful shrunken reminders of one-time monsters. Also it has the precipice-walled cirques and painted, lake-studded valleys which these monsters left for the enjoyment of to-day.

It is these cirques and valleys which constitute Glacier's unique feature, which make it incomparable of its kind. Glacier's innermost sanctuaries of grandeur are comfortably accessible and intimately enjoyable for more than two months each summer. The greatest places of the Canadian Rockies are never accessible comfortably; alpinists may clamber over their icy crevasses and scale their slippery heights in August, but the usual traveller will view their noblest spectacles from hotel porches or valley trails.

This comparison is useful because both regions are parts of the same geological and scenic development in which Glacier may be said to be scenically, though by no means geologically, completed and the Canadian Rockies still in the making. A hundred thousand years or more from now the Canadian Rockies may have reached, except for coloring, the present scenic state of Glacier.

Glacier National Park hangs down from the Canadian boundary-line in northwestern Montana, where it straddles the continental divide. Adjoining it on the north is the Waterton Lakes Park, Canada. The Blackfeet Indian Reservation borders it on the east. Its southern boundary is Marias Pass, through which the Great Northern Railway crosses the crest of the Rocky Mountains. Its western boundary is the North Fork of the Flathead River. The park contains fifteen hundred and thirty-four square miles.

Communication between the east and west sides within the park is only by trail across passes over the continental divide.

There are parts of America quite as distinguished as Glacier: Mount McKinley, for its enormous snowy mass and stature; Yosemite, for the quality of its valley's beauty; Mount Rainier, for its massive radiating glaciers; Crater Lake, for its color range in pearls and blues; Grand Canyon, for its stupendous painted gulf. But there is no part of America or the Americas, or of the world, to match it of its kind. In respect to the particular wondrous thing these glaciers of old left behind them when they shrank to shelved trifles, there is no other. At Glacier one sees what he never saw elsewhere and never will see again--except at Glacier. There are mountains everywhere, but no others carved into shapes quite like these; cirques in all lofty ranges, but not cirques just such as these; and because of these unique bordering highlands there are nowhere else lakes having the particular kind of charm possessed by Glacier's lakes.

Visitors seldom comprehend Glacier; hence they are mute, or praise in generalities or vague superlatives. Those who have not seen other mountains find the unexpected and are puzzled. Those who have seen other mountains fail to understand the difference in these. I have never heard comparison with any region except the Canadian Rockies, and this seldom very intelligent. "I miss the big glaciers and snowy mountain-tops," says the traveller of one type. "You can really see something here besides snow, and how stunning it all is!" says the traveller of another type. "My God, man, where are your artists?" cried an Englishman who had come to St. Mary Lake to spend a night and was finishing his week. "They ought to be here in regiments. Not that this is the greatest thing in the world, but that there's nothing else in the world like it." Yet this emotional traveller, who had seen the Himalayas, Andes, and Canadian Rockies, could not tell me clearly why it was different. Neither could the others explain why they liked it better than the Canadian Rockies, or why its beauty puzzled and disturbed them. It is only he whom intelligent travel has educated to analyze and distinguish who sees in the fineness and the extraordinary distinction of Glacier's mountain forms the completion of the more heroic undevelopment north of the border.

II

The elements of Glacier's personality are so unusual that it will be difficult, if not impossible, to make phrase describe it. Comparison fails. Photographs will help, but not very efficiently, because they do not convey its size, color, and reality; or perhaps I should say its unreality, for there are places like Two Medicine Lake in still pale mid-morning, St. Mary Lake during one of its gold sunsets, and the cirques of the South Fork of the Belly River under all conditions which never can seem actual.