The Project Gutenberg EBook of The Grand Cañon of the Colorado, by John Muir
This eBook is for the use of anyone anywhere at no cost and with
almost no restrictions whatsoever. You may copy it, give it away or
re-use it under the terms of the Project Gutenberg License included
with this eBook or online at www.gutenberg.org
Title: The Grand Cañon of the Colorado
Author: John Muir
Release Date: May 7, 2004 [EBook #12298]
Language: English
*** START OF THIS PROJECT GUTENBERG EBOOK THE GRAND CAÑON OF THE COLORADO ***
Produced by Justin Gillbank and PG Distributed Proofreaders
THE GRAND CAÑON OF THE COLORADO
by John Muir
1902
Happy nowadays is the tourist, with earth's wonders, new and old,
spread invitingly open before him, and a host of able workers as
his slaves making everything easy, padding plush about him, grading
roads for him, boring tunnels, moving hills out of his way, eager,
like the devil, to show him all the kingdoms of the world and their
glory and foolishness, spiritualizing travel for him with lightning
and steam, abolishing space and time and almost everything else.
Little children and tender, pulpy people, as well as storm-seasoned
explorers, may now go almost everywhere in smooth comfort, cross
oceans and deserts scarce accessible to fishes and birds, and,
dragged by steel horses, go up high mountains, riding gloriously
beneath starry showers of sparks, ascending like Elijah in a
whirlwind and chariot of fire.
First of the wonders of the great West to be brought within reach of
the tourist were the Yosemite and the Big Trees, on the completion
of the first transcontinental railway; next came the Yellowstone and
icy Alaska, by the Northern roads; and last the Grand Cañon of the
Colorado, which, naturally the hardest to reach, has now become, by
a branch of the Santa Fé, the most accessible of all.
Of course with this wonderful extension of steel ways through our
wilderness there is loss as well as gain. Nearly all railroads are
bordered by belts of desolation. The finest wilderness perishes as
if stricken with pestilence. Bird and beast people, if not the dryads,
are frightened from the groves. Too often the groves also vanish,
leaving nothing but ashes. Fortunately, nature has a few big places
beyond man's power to spoil--the ocean, the two icy ends of the globe,
and the Grand Cañon.
When I first heard of the Santa Fé trains running to the edge of
the Grand Cañon of Arizona, I was troubled with thoughts of the
disenchantment likely to follow. But last winter, when I saw those
trains crawling along through the pines of the Cocanini Forest and
close up to the brink of the chasm at Bright Angel, I was glad to
discover that in the presence of such stupendous scenery they are
nothing. The locomotives and trains are mere beetles and caterpillars,
and the noise they make is as little disturbing as the hooting of an
owl in the lonely woods.
In a dry, hot, monotonous forested plateau, seemingly boundless, you
come suddenly and without warning upon the abrupt edge of a gigantic
sunken landscape of the wildest, most multitudinous features, and
those features, sharp and angular, are made out of flat beds of
limestone and sandstone forming a spiry, jagged, gloriously colored
mountain-range countersunk in a level gray plain. It is a hard job
to sketch it even in scrawniest outline; and try as I may, not in
the least sparing myself, I cannot tell the hundredth part of the
wonders of its features--the side-cañons, gorges, alcoves, cloisters,
and amphitheaters of vast sweep and depth, carved in its magnificent
walls; the throng of great architectural rocks it contains resembling
castles, cathedrals, temples, and palaces, towered and spired and
painted, some of them nearly a mile high, yet beneath one's feet.
All this, however, is less difficult than to give any idea of the
impression of wild, primeval beauty and power one receives in merely
gazing from its brink. The view down the gulf of color and over the
rim of its wonderful wall, more than any other view I know, leads us
to think of our earth as a star with stars swimming in light, every
radiant spire pointing the way to the heavens.
But it is impossible to conceive what the cañon is, or what impression
it makes, from descriptions or pictures, however good. Naturally it is
untellable even to those who have seen something perhaps a little like
it on a small scale in this same plateau region. One's most extravagant
expectations are indefinitely surpassed, though one expect much from what
is said of it as "the biggest chasm on earth"--"so big is it that all
other big things,--Yosemite, the Yellowstone, the Pyramids, Chicago,--all
would be lost if tumbled into it." Naturally enough, illustrations as to
size are sought for among other cañons like or unlike it, with the common
result of worse confounding confusion. The prudent keep silence. It was
once said that the "Grand Cañon could put a dozen Yosemites in its vest
pocket."
The justly famous Grand Cañon of the Yellowstone is, like the Colorado,
gorgeously colored and abruptly countersunk in a plateau, and both are
mainly the work of water. But the Colorado's cañon is more than a thousand
times larger, and as a score or two new buildings of ordinary size would
not appreciably change the general view of a great city, so hundreds of
Yellowstones might be eroded in the sides of the Colorado Cañon without
noticeably augmenting its size or the richness of its sculpture. But it
is not true that the great Yosemite rocks would be thus lost or hidden.
Nothing of their kind in the world, so far as I know, rivals El Capitan
and Tissiack, much less dwarfs or in any way belittles them. None of the
sandstone or limestone precipices of the cañon that I have seen or heard
of approaches in smooth, flawless strength and grandeur the granite face
of El Capitan or the Tenaya side of Cloud's Rest. These colossal cliffs,
types of permanence, are about three thousand and six thousand feet high;
those of the cañon that are sheer are about half as high, and are types
of fleeting change; while glorious-domed Tissiack, noblest of mountain
buildings, far from being overshadowed or lost in this rosy, spiry cañon
company, would draw every eye, and, in serene majesty, "aboon them a'" she
would take her place--castle, temple, palace, or tower. Nevertheless a
noted writer, comparing the Grand Cañon in a general way with the glacial
Yosemite, says: "And the Yosemite--ah, the lovely Yosemite! Dumped down
into the wilderness of gorges and mountains, it would take a guide who
knew of its existence a long time to find it." This is striking, and shows
up well above the levels of commonplace description; but it is confusing,
and has the fatal fault of not being true. As well try to describe an eagle
by putting a lark in it. "And the lark--ah, the lovely lark! Dumped down
the red, royal gorge of the eagle, it would be hard to find." Each in its
own place is better, singing at heaven's gate, and sailing the sky with
the clouds.
Every feature of nature's big face is beautiful,--height and hollow,
wrinkle, furrow, and line,--and this is the main master furrow of its
kind on our continent, incomparably greater and more impressive than
any other yet discovered, or likely to be discovered, now that all the
great rivers have been traced to their heads.
The Colorado River rises in the heart of the continent on the dividing
ranges and ridges between the two oceans, drains thousands of snowy
mountains through narrow or spacious valleys, and thence through cañons
of every color, sheer-walled and deep, all of which seem to be represented
in this one grand cañon of cañons.
It is very hard to give anything like an adequate conception of its size,
much more of its color, its vast wall-sculpture, the wealth of ornate
architectural buildings that fill it, or, most of all, the tremendous
impression it makes. According to Major Powell, it is about two hundred
and seventeen miles long, from five to fifteen miles wide from rim to rim,
and from about five thousand to six thousand feet deep. So tremendous a
chasm would be one of the world's greatest wonders even if, like ordinary
cañons cut in sedimentary rocks, it were empty and its walls were simple.
But instead of being plain, the walls are so deeply and elaborately
carved into all sorts of recesses--alcoves, cirques, amphitheaters, and
side-cañons--that were you to trace the rim closely around on both sides
your journey would be nearly a thousand miles long. Into all these
recesses the level, continuous beds of rock in ledges and benches, with
their various colors, run like broad ribbons, marvelously beautiful
and effective even at a distance of ten or twelve miles. And the vast
space these glorious walls inclose, instead of being empty, is crowded
with gigantic architectural rock forms gorgeously colored and adorned with
towers and spires like works of art.
Looking down from this level plateau, we are more impressed with a feeling
of being on the top of everything than when looking from the summit of a
mountain. From side to side of the vast gulf, temples, palaces, towers,
and spires come soaring up in thick array half a mile or nearly a mile
above their sunken, hidden bases, some to a level with our standpoint,
but none higher. And in the inspiring morning light all are so fresh and
rosy-looking that they seem new-born; as if, like the quick-growing crimson
snow-plants of the California woods, they had just sprung up, hatched by
the warm, brooding, motherly weather.
In trying to describe the great pines and sequoias of the Sierra, I have
often thought that if one of those trees could be set by itself in some
city park, its grandeur might there be impressively realized; while in its
home forests, where all magnitudes are great, the weary, satiated traveler
sees none of them truly. It is so with these majestic rock structures.
Though mere residual masses of the plateau, they are dowered with the
grandeur and repose of mountains, together with the finely chiseled
carving and modeling of man's temples and palaces, and often, to a
considerable extent, with their symmetry. Some, closely observed, look
like ruins; but even these stand plumb and true, and show architectural
forms loaded with lines strictly regular and decorative, and all are
arrayed in colors that storms and time seem only to brighten. They are not
placed in regular rows in line with the river, but "a' through ither,"
as the Scotch say, in lavish, exuberant crowds, as if nature in wildest
extravagance held her bravest structures as common as gravel-piles.
Yonder stands a spiry cathedral nearly five thousand feet in height,
nobly symmetrical, with sheer buttressed walls and arched doors and
windows, as richly finished and decorated with sculptures as the great
rock temples of India or Egypt. Beside it rises a huge castle with arched
gateway, turrets, watch-towers, ramparts, etc., and to right and left
palaces, obelisks, and pyramids fairly fill the gulf, all colossal and
all lavishly painted and carved. Here and there a flat-topped structure
may be seen, or one imperfectly domed; but the prevailing style is ornate
Gothic, with many hints of Egyptian and Indian.
Throughout this vast extent of wild architecture--nature's own capital
city--there seem to be no ordinary dwellings. All look like grand and
important public structures, except perhaps some of the lower pyramids,
broad-based and sharp-pointed, covered with down-flowing talus like
loosely set tents with hollow, sagging sides. The roofs often have
disintegrated rocks heaped and draggled over them, but in the main
the masonry is firm and laid in regular courses, as if done by square
and rule.
Nevertheless they are ever changing: their tops are now a dome, now a
flat table or a spire, as harder or softer strata are reached in their
slow degradation, while the sides, with all their fine moldings, are
being steadily undermined and eaten away. But no essential change in
style or color is thus effected. From century to century they stand the
same. What seems confusion among the rough earthquake-shaken crags nearest
one comes to order as soon as the main plan of the various structures
appears. Every building, however complicated and laden with ornamental
lines, is at one with itself and every one of its neighbors, for the
same characteristic controlling belts of color and solid strata extend
with wonderful constancy for very great distances, and pass through and
give style to thousands of separate structures, however their smaller
characters may vary.
Of all the various kinds of ornamental work displayed,--carving, tracery
on cliff-faces, moldings, arches, pinnacles,--none is more admirably
effective or charms more than the webs of rain-channeled taluses.
Marvelously extensive, without the slightest appearance of waste or
excess, they cover roofs and dome-tops and the base of every cliff,
belt each spire and pyramid and massy, towering temple, and in beautiful
continuous lines go sweeping along the great walls in and out around
all the intricate system of side-cañons, amphitheaters, cirques, and
scallops into which they are sculptured. From one point hundreds of miles
of this fairy embroidery may be traced. It is all so fine and orderly
that it would seem that not only had the clouds and streams been kept
harmoniously busy in the making of it, but that every raindrop sent like
a bullet to a mark had been the subject of a separate thought, so sure is
the outcome of beauty through the stormy centuries. Surely nowhere else
are there illustrations so striking of the natural beauty of desolation
and death, so many of nature's own mountain buildings wasting in glory of
high desert air--going to dust. See how steadfast in beauty they all are
in their going. Look again and again how the rough, dusty boulders and
sand of disintegration from the upper ledges wreathe in beauty the next
and next below with these wonderful taluses, and how the colors are finer
the faster the waste. We oftentimes see nature giving beauty for ashes,--as
in the flowers of a prairie after fire,--but here the very dust and ashes
are beautiful.
Gazing across the mighty chasm, we at last discover that it is not its
great depth nor length, nor yet these wonderful buildings, that most
impresses us. It is its immense width, sharply defined by precipitous
walls plunging suddenly down from a flat plain, declaring in terms
instantly apprehended that the vast gulf is a gash in the once unbroken
plateau, made by slow, orderly erosion and removal of huge beds of rocks.
Other valleys of erosion are as great,--in all their dimensions some
are greater,--but none of these produces an effect on the imagination
at once so quick and profound, coming without study, given at a glance.
Therefore by far the greatest and most influential feature of this view
from Bright Angel or any other of the cañon views is the opposite wall.
Of the one beneath our feet we see only fragmentary sections in cirques
and amphitheaters and on the sides of the outjutting promontories between
them, while the other, though far distant, is beheld in all its glory of
color and noble proportions--the one supreme beauty and wonder to which the
eye is ever turning. For while charming with its beauty it tells the story
of the stupendous erosion of the cañon--the foundation of the unspeakable
impression made on everybody. It seems a gigantic statement for even nature
to make, all in one mighty stone word, apprehended at once like a burst of
light, celestial color its natural vesture, coming in glory to mind and
heart as to a home prepared for it from the very beginning. Wildness so
godful, cosmic, primeval, bestows a new sense of earth's beauty and size.
Not even from high mountains does the world seem so wide, so like a star
in glory of light on its way through the heavens.
I have observed scenery-hunters of all sorts getting first views of
yosemites, glaciers. While Mountain ranges, etc. Mixed with the enthusiasm
which such scenery naturally excites, there is often weak gushing, and
many splutter aloud like little waterfalls. Here, for a few moments at
least, there is silence, and all are in dead earnest, as if awed and
hushed by an earthquake--perhaps until the cook cries "Breakfast!" or
the stable-boy "Horses are ready!" Then the poor unfortunates, slaves of
regular habits, turn quickly away, gasping and muttering as if wondering
where they had been and what had enchanted them.
Roads have been made from Bright Angel Hotel through the Cocanini Forest
to the ends of outstanding promontories, commanding extensive views up
and down the cañon. The nearest of them, three or four miles east and
west, are McNeil's Point and Rowe's Point; the latter, besides commanding
the eternally interesting cañon, gives wide-sweeping views southeast and
west over the dark forest roof to the San Francisco and Mount Trumbull
volcanoes--the bluest of mountains over the blackest of level woods.
Instead of thus riding in dust with the crowd, more will be gained by
going quietly afoot along the rim at different times of day and night,
free to observe the vegetation, the fossils in the rocks, the seams
beneath overhanging ledges once inhabited by Indians, and to watch the
stupendous scenery in the changing lights and shadows, clouds, showers,
and storms. One need not go hunting the so-called "points of interest."
The verge anywhere, everywhere, is a point of interest beyond one's
wildest dreams.
As yet, few of the promontories or throng of mountain buildings in the
cañon are named. Nor among such exuberance of forms are names thought
of by the bewildered, hurried tourist. He would be as likely to think of
names for waves in a storm. The Eastern and Western Cloisters, Hindu
Amphitheater, Cape Royal, Powell's Plateau, and Grand View Point, Point
Sublime, Bissell and Moran points, the Temple of Set, Vishnu's Temple,
Shiva's Temple, Twin Temples, Tower of Babel, Hance's Column--these fairly
good names given by Dutton, Holmes, Moran, and others are scattered over
a large stretch of the cañon wilderness.
All the cañon rock-beds are lavishly painted, except a few neutral bars
and the granite notch at the bottom occupied by the river, which makes
but little sign. It is a vast wilderness of rocks in a sea of light,
colored and glowing like oak and maple woods in autumn, when the sun-gold
is richest. I have just said that it is impossible to learn what the
cañon is like from descriptions and pictures. Powell's and Dutton's
descriptions present magnificent views not only of the cañon but of all
the grand region round about it; and Holmes's drawings, accompanying
Dutton's report, are wonderfully good. Surely faithful and loving skill
can go no further in putting the multitudinous decorated forms on paper.
But the _colors_, the living, rejoicing _colors_, chanting morning and
evening in chorus to heaven! Whose brush or pencil, however lovingly
inspired, can give us these? And if paint is of no effect, what hope
lies in pen-work? Only this: some may be incited by it to go and see
for themselves.
No other range of mountainous rock-work of anything like the same extent
have I seen that is so strangely, boldly, lavishly colored. The famous
Yellowstone Cañon below the falls comes to mind, but, wonderful as it
is, and well deserved as is its fame, compared with this it is only a
bright rainbow ribbon at the roots of the pines. Each of the series of
level, continuous beds of carboniferous rocks of the cañon has, as we
have seen, its own characteristic color. The summit limestone-beds are
pale yellow; next below these are the beautiful rose-colored cross-bedded
sandstones; next there are a thousand feet of brilliant red sandstones;
and below these the red wall limestones, over two thousand feet thick,
rich massy red, the greatest and most influential of the series, and
forming the main color-fountain. Between these are many neutral-tinted
beds. The prevailing colors are wonderfully deep and clear, changing and
blending with varying intensity from hour to hour, day to day, season to
season; throbbing, wavering, glowing, responding to every passing cloud
or storm, a world of color in itself, now burning in separate rainbow bars
streaked and blotched with shade, now glowing in one smooth, all-pervading
ethereal radiance like the alpenglow, uniting the rocky world with the
heavens.
The dawn, as in all the pure, dry desert country, is ineffably beautiful;
and when the first level sunbeams sting the domes and spires, with what a
burst of power the big, wild days begin! The dead and the living, rocks
and hearts alike, awake and sing the new-old song of creation. All the
massy headlands and salient angles of the walls, and the multitudinous
temples and palaces, seem to catch the light at once, and cast thick black
shadows athwart hollow and gorge, bringing out details as well as the main
massive features of the architecture; while all the rocks, as if wild with
life, throb and quiver and glow in the glorious sunburst, rejoicing. Every
rock temple then becomes a temple of music; every spire and pinnacle an
angel of light and song, shouting color halleluiahs.
As the day draws to a close, shadows, wondrous, black, and thick, like
those of the morning, fill up the wall hollows, while the glowing rocks,
their rough angles burned off, seem soft and hot to the heart as they
stand submerged in purple haze, which now fills the cañon like a sea.
Still deeper, richer, more divine grow the great walls and temples, until
in the supreme flaming glory of sunset the whole cañon is transfigured,
as if all the life and light of centuries of sunshine stored up and
condensed in the rocks was now being poured forth as from one glorious
fountain, flooding both earth and sky.
Strange to say, in the full white effulgence of the midday hours the bright
colors grow dim and terrestrial in common gray haze; and the rocks, after
the manner of mountains, seem to crouch and drowse and shrink to less than
half their real stature, and have nothing to say to one, as if not at home.
But it is fine to see how quickly they come to life and grow radiant and
communicative as soon as a band of white clouds come floating by. As if
shouting for joy, they seem to spring up to meet them in hearty salutation,
eager to touch them and beg their blessings. It is just in the midst of
these dull midday hours that the cañon clouds are born.
A good storm-cloud full of lightning and rain on its way to its work on
a sunny desert day is a glorious object. Across the cañon, opposite the
hotel, is a little tributary of the Colorado called Bright Angel Creek.
A fountain-cloud still better deserves the name "Angel of the Desert
Wells"--clad in bright plumage, carrying cool shade and living water to
countless animals and plants ready to perish, noble in form and gesture,
seeming able for anything, pouring life-giving, wonder-working floods from
its alabaster fountains, as if some sky-lake had broken. To every gulch
and gorge on its favorite ground is given a passionate torrent, roaring,
replying to the rejoicing lightning--stones, tons in weight, hurrying away
as if frightened, showing something of the way Grand Cañon work is done.
Most of the fertile summer clouds of the cañon are of this sort, massive,
swelling cumuli, growing rapidly, displaying delicious tones of purple and
gray in the hollows of their sun-beaten bosses, showering favored areas
of the heated landscape, and vanishing in an hour or two. Some, busy and
thoughtful-looking, glide with beautiful motion along the middle of the
cañon in flocks, turning aside here and there, lingering as if studying
the needs of particular spots, exploring side-cañons, peering into hollows
like birds seeking nest-places, or hovering aloft on outspread wings. They
scan all the red wilderness, dispensing their blessings of cool shadows
and rain where the need is the greatest, refreshing the rocks, their
offspring as well as the vegetation, continuing their sculpture, deepening
gorges and sharpening peaks. Sometimes, blending all together, they weave
a ceiling from rim to rim, perhaps opening a window here and there for
sunshine to stream through, suddenly lighting some palace or temple and
making it flare in the rain as if on fire.
Sometimes, as one sits gazing from a high, jutting promontory, the sky
all clear, showing not the slightest wisp or penciling, a bright band of
cumuli will appear suddenly, coming up the cañon in single file, as if
tracing a well-known trail, passing in review, each in turn darting its
lances and dropping its shower, making a row of little vertical rivers
in the air above the big brown one. Others seem to grow from mere points,
and fly high above the cañon, yet following its course for a long time,
noiseless, as if hunting, then suddenly darting lightning at unseen marks,
and hurrying on. Or they loiter here and there as if idle, like laborers
out of work, waiting to be hired.
Half a dozen or more showers may oftentimes be seen falling at once, while
far the greater part of the sky is in sunshine, and not a raindrop comes
nigh one. These thunder-showers from as many separate clouds, looking like
wisps of long hair, may vary greatly in effects. The pale, faint streaks
are showers that fail to reach the ground, being evaporated on the way down
through the dry, thirsty air, like streams in deserts. Many, on the other
hand, which in the distance seem insignificant, are really heavy rain,
however local; these are the gray wisps well zigzagged with lightning. The
darker ones are torrent rain, which on broad, steep slopes of favorable
conformation give rise to so-called "cloudbursts"; and wonderful is the
commotion they cause. The gorges and gulches below them, usually dry,
break out in loud uproar, with a sudden downrush of muddy, boulder-laden
floods. Down they all go in one simultaneous gush, roaring like lions
rudely awakened, each of the tawny brood actually kicking up a dust at
the first onset.
During the winter months snow falls over all the high plateau, usually
to a considerable depth, whitening the rim and the roofs of the cañon
buildings. But last winter, when I arrived at Bright Angel in the middle
of January, there was no snow in sight, and the ground was dry, greatly
to my disappointment, for I had made the trip mainly to see the cañon in
its winter garb. Soothingly I was informed that this was an exceptional
season, and that the good snow might arrive at any time. After waiting a
few days, I gladly hailed a broad-browed cloud coming grandly on from
the west in big promising blackness, very unlike the white sailors of the
summer skies. Under the lee of a rim-ledge, with another snow-lover, I
watched its movements as it took possession of the cañon and all the
adjacent region in sight. Trailing its gray fringes over the spiry tops
of the great temples and towers, it gradually settled lower, embracing
them all with ineffable kindness and gentleness of touch, and fondled the
little cedars and pines as they quivered eagerly in the wind like young
birds begging their mothers to feed them. The first flakes and crystals
began to fly about noon, sweeping straight up the middle of the cañon, and
swirling in magnificent eddies along the sides. Gradually the hearty swarms
closed their ranks, and all the cañon was lost in gray gloom except a short
section of the wall and a few trees beside us, which looked glad with snow
in their needles and about their feet as they leaned out over the gulf.
Suddenly the storm opened with magical effect to the north over the cañon
of Bright Angel Creek, inclosing a sunlit mass of the cañon architecture,
spanned by great white concentric arches of cloud like the bows of a
silvery aurora. Above these and a little back of them was a series of
upboiling purple clouds, and high above all, in the background, a range
of noble cumuli towered aloft like snow-laden mountains, their pure pearl
bosses flooded with sunshine. The whole noble picture, calmly glowing, was
framed in thick gray gloom, which soon closed over it; and the storm went
on, opening and closing until night covered all.
Two days later, when we were on a jutting point about eighteen miles east
of Bright Angel and one thousand feet higher, we enjoyed another storm of
equal glory as to cloud effects, though only a few inches of snow fell.
Before the storm began we had a magnificent view of this grander upper
part of the cañon and also of the Cocanini Forest and Painted Desert.
The march of the clouds with their storm-banners flying over this sublime
landscape was unspeakably glorious, and so also was the breaking up of
the storm next morning--the mingling of silver-capped rock, sunshine,
and cloud.
Most tourists make out to be in a hurry even here; therefore their few
days or hours would be best spent on the promontories nearest the hotel.
Yet a surprising number go down the Bright Angel trail to the brink of
the inner gloomy granite gorge overlooking the river. Deep cañons attract
like high mountains; the deeper they are, the more surely are we drawn
into them. On foot, of course, there is no danger whatever, and, with
ordinary precautions, but little on animals. In comfortable tourist faith,
unthinking, unfearing, down go men, women, and children on whatever is
offered, horse, mule, or burro, as if saying with Jean Paul, "fear nothing
but fear"--not without reason, for these cañon trails down the stairways
of the gods are less dangerous than they seem, less dangerous than home
stairs. The guides are cautious, and so are the experienced, much-enduring
beasts. The scrawniest Rosinantes and wizened-rat mules cling hard to the
rocks endwise or sidewise, like lizards or ants. From terrace to terrace,
climate to climate, down one creeps in sun and shade, through gorge and
gully and grassy ravine, and, after a long scramble on foot, at last
beneath the mighty cliffs one comes to the grand, roaring river.
To the mountaineer the depth of the cañon, from five thousand to six
thousand feet, will not seem so very wonderful, for he has often explored
others that are about as deep. But the most experienced will be awe-struck
but the vast extent of strange, countersunk scenery, the multitude of huge
rock monuments of painted masonry built up in regular courses towering
above, beneath, and round about him. By the Bright Angel trail the last
fifteen hundred feet of the descent to the river has to be made afoot down
the gorge of Indian Garden Creek. Most of the visitors do not like this
part, and are content to stop at the end of the horse-trail and look down
on the dull-brown flood from the edge of the Indian Garden Plateau. By the
new Hance trail, excepting a few daringly steep spots, you can ride all
the way to the river, where there is a good spacious camp-ground in a
mesquit-grove. This trail, built by brave Hance, begins on the highest
part of the rim, eight thousand feet above the sea, a thousand feet higher
than the head of Bright Angel trail, and the descent is a little over six
thousand feet, through a wonderful variety of climate and life. Often late
in the fall, when frosty winds are blowing and snow is flying at one end
of the trail, tender plants are blooming in balmy summer weather at the
other. The trip down and up can be made afoot easily in a day. In this
way one is free to observe the scenery and vegetation, instead of merely
clinging to his animal and watching its steps. But all who have time should
go prepared to camp awhile on the riverbank, to rest and learn something
about the plants and animals and the mighty flood roaring past. In cool,
shady amphitheaters at the head of the trail there are groves of white
silver fir and Douglas spruce, with ferns and saxifrages that recall snowy
mountains; below these, yellow pine, nut-pine, juniper, hop-hornbeam, ash,
maple, holly-leaved berberis, cowania, spiraea, dwarf oak, and other small
shrubs and trees. In dry gulches and on taluses and sun-beaten crags are
sparsely scattered yuccas, cactuses, agave, etc. Where springs gush from
the rocks there are willow thickets, grassy flats, and bright flowery
gardens, and in the hottest recesses the delicate abronia, mesquit, woody
compositae, and arborescent cactuses.
The most striking and characteristic part of this widely varied vegetation
are the cactaceae--strange, leafless, old-fashioned plants with beautiful
flowers and fruit, in every way able and admirable. While grimly defending
themselves with innumerable barbed spears, they offer both food and drink
to man and beast. Their juicy globes and disks and fluted cylindrical
columns are almost the only desert wells that never go dry, and they
always seem to rejoice the more and grow plumper and juicier the hotter
the sunshine and sand. Some are spherical, like rolled-up porcupines,
crouching in rock hollows beneath a mist of gray lances, unmoved by the
wildest winds. Others, standing as erect as bushes and trees or tall
branchless pillars crowned with magnificent flowers, their prickly armor
sparkling, look boldly abroad over the glaring desert, making the strangest
forests ever seen or dreamed of. _Cereus giganteus_, the grim chief of the
desert tribe, is often thirty or forty feet high in southern Arizona.
Several species of tree yuccas in the same deserts, laden in early spring
with superb while lilies, form forests hardly less wonderful, though
here they grow singly or in small lonely groves. The low, almost stemless
_Yucca baccata_, with beautiful lily-flowers and sweet banana-like fruit,
prized by the Indians, is common along the cañon rim, growing on lean,
rocky soil beneath mountain-mahogany, nut-pines, and junipers, beside
dense flowery mats of _Spiraea caespitosa_ and the beautiful pinnate-leaved
_Spiraea millefolium_. The nut-pine, _Pinus edulis_, scattered along the
upper slopes and roofs of the cañon buildings, is the principal tree of
the strange Dwarf Cocanini Forest. It is a picturesque stub of a pine about
twenty-five feet high, usually-with dead, lichened limbs thrust through
its rounded head, and grows on crags and fissured rock tables, braving
heat and frost, snow and drought, and continues patiently, faithfully
fruitful for centuries. Indians and insects and almost every desert bird
and beast come to it to be fed.
To civilized people from corn and cattle and wheat-field countries the
cañon at first sight seems as uninhabitable as a glacier crevasse, utterly
silent and barren. Nevertheless it is the home of a multitude of our
fellow-mortals, men as well as animals and plants. Centuries ago it was
inhabited by tribes of Indians, who, long before Columbus saw America,
built thousands of stone houses in its crags, and large ones, some of
them several stories high, with hundreds of rooms, on the mesas of the
adjacent regions. Their cliff-dwellings, almost numberless, are still
to be seen in the cañon, scattered along both sides from top to bottom
and throughout its entire length, built of stone and mortar in seams and
fissures like swallows' nests, or on isolated ridges and peaks. The ruins
of larger buildings are found on open spots by the river, but most of them
aloft on the brink of the wildest, giddiest precipices, sites evidently
chosen for safety from enemies, and seemingly accessible only to the birds
of the air. Many caves were also used as dwelling-places, as were mere
seams on cliff-fronts formed by unequal weathering and with or without
outer or side walls; and some of them were covered with colored pictures of
animals. The most interesting of these cliff-dwellings had pathetic little
ribbon-like strips of garden on narrow terraces, where irrigating-water
could be carried to them--most romantic of sky-gardens, but eloquent of
hard times.
In recesses along the river and on the first plateau flats above its gorge
were fields and gardens of considerable size, where irrigating-ditches may
still be traced. Some of these ancient gardens are still cultivated by
Indians, descendants of cliff dwellers, who raise corn, squashes, melons,
potatoes, etc., to reinforce the produce of the many wild food-furnishing
plants, nuts, beans, berries, yucca and cactus fruits, grass and sunflower
seeds, etc., and the flesh of animals, deer, rabbits, lizards, etc. The
cañon Indians I have met here seem to be living much as did their
ancestors, though not now driven into rock dens. They are able, erect
men, with commanding eyes, which nothing that they wish to see can
escape. They are never in a hurry, have a strikingly measured, deliberate,
bearish manner of moving the limbs and turning the head, are capable of
enduring weather, thirst, hunger, and over-abundance, and are blessed with
stomachs which triumph over everything the wilderness may offer. Evidently
their lives are not bitter.
The largest of the cañon animals one is likely to see is the wild sheep,
or Rocky Mountain bighorn, a most admirable beast, with limbs that never
fail, at home on the most nerve-trying precipices, acquainted with all
the springs and passes and broken-down jumpable places in the sheer
ribbon cliffs, bounding from crag to crag in easy grace and confidence
of strength, his great horns held high above his shoulders, wild red
blood beating and hissing through every fiber of him like the wind
through a quivering mountain pine.
Deer also are occasionally met in the cañon, making their way to the river
when the wells of the plateau are dry. Along the short spring streams
beavers are still busy, as is shown by the cotton-wood and willow timber
they have cut and peeled, found in all the river drift-heaps. In the most
barren cliffs and gulches there dwell a multitude of lesser animals,
well-dressed, clear-eyed, happy little beasts--wood-rats, kangaroo-rats,
gophers, wood-mice, skunks, rabbits, bob cats, and many others, gathering
food, or dozing in their sun-warmed dens. Lizards, too, of every kind and
color are here enjoying life on the hot cliffs, and making the brightest
of them brighter.
Nor is there any lack of feathered people. The golden eagle may be seen,
and the osprey, hawks, jays, humming-birds, the mourning-dove, and cheery
familiar singers--the black-headed grosbeak, robin, bluebird, Townsend's
thrush, and many warblers, sailing the sky and enlivening the rocks and
bushes through all the cañon wilderness.
Here at Hance's river camp or a few miles above it brave Powell and his
brave men passed their first night in the cañon on their adventurous
voyage of discovery thirty-three years ago. They faced a thousand dangers,
open or hidden, now in their boats gladly sliding down swift, smooth
reaches, now rolled over and over in back-combing surges of rough, roaring
cataracts, sucked under in eddies, swimming like beavers, tossed and beaten
like castaway drift--stout-hearted, undaunted, doing their work through it
all. After a month of this they floated smoothly out of the dark, gloomy,
roaring abyss into light and safety two hundred miles below. As the flood
rushes past us, heavy-laden with desert mud, we naturally think of its
sources, its countless silvery branches outspread on thousands of snowy
mountains along the crest of the continent, and the life of them, the
beauty of them, their history and romance. Its topmost springs are far
north and east in Wyoming and Colorado, on the snowy Wind River, Front,
Park, and Sawatch ranges, dividing the two ocean waters, and the Elk,
Wasatch, Uinta, and innumerable spurs streaked with streams, made famous
by early explorers and hunters. It is a river of rivers--the Du Chesne,
San Rafael, Yampa, Dolores, Gunnison, Cotchetopa, Uncompahgre, Eagle,
and Roaring rivers, the Green and the Grand, and scores of others with
branches innumerable, as mad and glad a band as ever sang on mountains,
descending in glory of foam and spray from snow-banks and glaciers through
their rocky moraine-dammed, beaver-dammed channels. Then, all emerging
from dark balsam and pine woods and coming together, they meander through
wide, sunny park valleys, and at length enter the great plateau and flow
in deep cañons, the beginning of the system culminating in this grand cañon
of cañons.
Our warm cañon camp is also a good place to give a thought to the glaciers
which still exist at the heads of the highest tributaries. Some of them
are of considerable size, especially those on the Wind River and Sawatch
ranges in Wyoming and Colorado. They are remnants of a vast system of
glaciers which recently covered the upper part of the Colorado basin,
sculptured its peaks, ridges, and valleys to their present forms, and
extended far out over the plateau region--how far I cannot now say. It
appears, therefore, that, however old the main trunk of the Colorado may
be, all its wide-spread upper branches and the landscapes they flow through
are new-born, scarce at all changed as yet in any important feature since
they first came to light at the close of the glacial period.
The so-called Grand Colorado Plateau, of which the Grand Cañon is only one
of its well-proportioned features, extends with a breadth of hundreds of
miles from the flanks of the Wasatch and Park Mountains to the south of
the San Francisco Peaks. Immediately to the north of the deepest part
of the cañon it rises in a series of subordinate plateaus, diversified
with green meadows, marshes, bogs, ponds, forests, and grovy park valleys,
a favorite Indian hunting-ground, inhabited by elk, deer, beaver, etc.
But far the greater part of the plateau is good sound desert, rocky,
sandy, or fluffy with loose ashes and dust, dissected in some places
into a labyrinth of stream-channel chasms like cracks in a dry clay-bed,
or the narrow slit crevasses of glaciers,--blackened with lava-flows,
dotted with volcanoes and beautiful buttes, and lined with long continuous
escarpments,--a vast bed of sediments of an ancient sea-bottom, still
nearly as level as when first laid down after being heaved into the sky
a mile or two high.
Walking quietly about in the alleys and byways of the Grand Cañon City,
we learn something of the way it was made; and all must admire effects so
great from means apparently so simple: rain striking light hammer-blows
or heavier in streams, with many rest Sundays; soft air and light, gentle
sappers and miners, toiling forever; the big river sawing the plateau
asunder, carrying away the eroded and ground waste, and exposing the
edges of the strata to the weather; rain torrents sawing cross-streets
and alleys, exposing the strata in the same way in hundreds of sections,
the softer, less resisting beds weathering and receding faster, thus
undermining the harder beds, which fall, not only in small weathered
particles, but in heavy sheer-cleaving masses, assisted down from time to
time by kindly earthquakes, rain torrents rushing the fallen material
to the river, keeping the wall rocks constantly exposed. Thus the cañon
grows wider and deeper. So also do the side-cañons and amphitheaters,
while secondary gorges and cirques gradually isolate masses of the
promontories, forming new buildings, all of which are being weathered
and pulled and shaken down while being built, showing destruction and
creation as one. We see the proudest temples and palaces in stateliest
attitudes, wearing their sheets of detritus as royal robes, shedding off
showers of red and yellow stones like trees in autumn shedding their
leaves, going to dust like beautiful days to night, proclaiming as with
the tongues of angels the natural beauty of death.
Every building is seen to be a remnant of once continuous beds of
sediments--sand and slime on the floor of an ancient sea, and filled
with the remains of animals, and that every particle of the sandstones
and limestones of these wonderful structures was derived from other
landscapes, weathered and rolled and ground in the storms and streams
of other ages. And when we examine the escarpments, hills, buttes, and
other monumental masses of the plateau on either side of the cañon, we
discover that an amount of material has been carried off in the general
denudation of the region compared with which even that carried away
in the making of the Grand Cañon is as nothing. Thus each wonder in
sight becomes a window through which other wonders come to view. In no
other part of this continent are the wonders of geology, the records of
the world's auld lang syne, more widely opened, or displayed in higher
piles. The whole cañon is a mine of fossils, in which five thousand feet
of horizontal strata are exposed in regular succession over more than a
thousand square miles of wall-space, and on the adjacent plateau region
there is another series of beds twice as thick, forming a grand geological
library--a collection of stone books covering thousands of miles of
shelving tier on tier conveniently arranged for the student. And with
what wonderful scriptures are their pages filled--myriad forms of
successive floras and faunas, lavishly illustrated with colored drawings,
carrying us back into the midst of the life of a past infinitely remote.
And as we go on and on, studying this old, old life in the light of the
life beating warmly about us, we enrich and lengthen our own.
End of Project Gutenberg's The Grand Cañon of the Colorado, by John Muir
*** END OF THIS PROJECT GUTENBERG EBOOK THE GRAND CAÑON OF THE COLORADO ***
***** This file should be named 12298-8.txt or 12298-8.zip *****
This and all associated files of various formats will be found in:
https://www.gutenberg.org/1/2/2/9/12298/
Produced by Justin Gillbank and PG Distributed Proofreaders
Updated editions will replace the previous one--the old editions
will be renamed.
Creating the works from public domain print editions means that no
one owns a United States copyright in these works, so the Foundation
(and you!) can copy and distribute it in the United States without
permission and without paying copyright royalties. Special rules,
set forth in the General Terms of Use part of this license, apply to
copying and distributing Project Gutenberg-tm electronic works to
protect the PROJECT GUTENBERG-tm concept and trademark. Project
Gutenberg is a registered trademark, and may not be used if you
charge for the eBooks, unless you receive specific permission. If you
do not charge anything for copies of this eBook, complying with the
rules is very easy. You may use this eBook for nearly any purpose
such as creation of derivative works, reports, performances and
research. They may be modified and printed and given away--you may do
practically ANYTHING with public domain eBooks. Redistribution is
subject to the trademark license, especially commercial
redistribution.
*** START: FULL LICENSE ***
THE FULL PROJECT GUTENBERG LICENSE
PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
To protect the Project Gutenberg-tm mission of promoting the free
distribution of electronic works, by using or distributing this work
(or any other work associated in any way with the phrase "Project
Gutenberg"), you agree to comply with all the terms of the Full Project
Gutenberg-tm License (available with this file or online at
https://gutenberg.org/license).
Section 1. General Terms of Use and Redistributing Project Gutenberg-tm
electronic works
1.A. By reading or using any part of this Project Gutenberg-tm
electronic work, you indicate that you have read, understand, agree to
and accept all the terms of this license and intellectual property
(trademark/copyright) agreement. If you do not agree to abide by all
the terms of this agreement, you must cease using and return or destroy
all copies of Project Gutenberg-tm electronic works in your possession.
If you paid a fee for obtaining a copy of or access to a Project
Gutenberg-tm electronic work and you do not agree to be bound by the
terms of this agreement, you may obtain a refund from the person or
entity to whom you paid the fee as set forth in paragraph 1.E.8.
1.B. "Project Gutenberg" is a registered trademark. It may only be
used on or associated in any way with an electronic work by people who
agree to be bound by the terms of this agreement. There are a few
things that you can do with most Project Gutenberg-tm electronic works
even without complying with the full terms of this agreement. See
paragraph 1.C below. There are a lot of things you can do with Project
Gutenberg-tm electronic works if you follow the terms of this agreement
and help preserve free future access to Project Gutenberg-tm electronic
works. See paragraph 1.E below.
1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation"
or PGLAF), owns a compilation copyright in the collection of Project
Gutenberg-tm electronic works. Nearly all the individual works in the
collection are in the public domain in the United States. If an
individual work is in the public domain in the United States and you are
located in the United States, we do not claim a right to prevent you from
copying, distributing, performing, displaying or creating derivative
works based on the work as long as all references to Project Gutenberg
are removed. Of course, we hope that you will support the Project
Gutenberg-tm mission of promoting free access to electronic works by
freely sharing Project Gutenberg-tm works in compliance with the terms of
this agreement for keeping the Project Gutenberg-tm name associated with
the work. You can easily comply with the terms of this agreement by
keeping this work in the same format with its attached full Project
Gutenberg-tm License when you share it without charge with others.
1.D. The copyright laws of the place where you are located also govern
what you can do with this work. Copyright laws in most countries are in
a constant state of change. If you are outside the United States, check
the laws of your country in addition to the terms of this agreement
before downloading, copying, displaying, performing, distributing or
creating derivative works based on this work or any other Project
Gutenberg-tm work. The Foundation makes no representations concerning
the copyright status of any work in any country outside the United
States.
1.E. Unless you have removed all references to Project Gutenberg:
1.E.1. The following sentence, with active links to, or other immediate
access to, the full Project Gutenberg-tm License must appear prominently
whenever any copy of a Project Gutenberg-tm work (any work on which the
phrase "Project Gutenberg" appears, or with which the phrase "Project
Gutenberg" is associated) is accessed, displayed, performed, viewed,
copied or distributed:
This eBook is for the use of anyone anywhere at no cost and with
almost no restrictions whatsoever. You may copy it, give it away or
re-use it under the terms of the Project Gutenberg License included
with this eBook or online at www.gutenberg.org
1.E.2. If an individual Project Gutenberg-tm electronic work is derived
from the public domain (does not contain a notice indicating that it is
posted with permission of the copyright holder), the work can be copied
and distributed to anyone in the United States without paying any fees
or charges. If you are redistributing or providing access to a work
with the phrase "Project Gutenberg" associated with or appearing on the
work, you must comply either with the requirements of paragraphs 1.E.1
through 1.E.7 or obtain permission for the use of the work and the
Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
1.E.9.
1.E.3. If an individual Project Gutenberg-tm electronic work is posted
with the permission of the copyright holder, your use and distribution
must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
terms imposed by the copyright holder. Additional terms will be linked
to the Project Gutenberg-tm License for all works posted with the
permission of the copyright holder found at the beginning of this work.
1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm
License terms from this work, or any files containing a part of this
work or any other work associated with Project Gutenberg-tm.
1.E.5. Do not copy, display, perform, distribute or redistribute this
electronic work, or any part of this electronic work, without
prominently displaying the sentence set forth in paragraph 1.E.1 with
active links or immediate access to the full terms of the Project
Gutenberg-tm License.
1.E.6. You may convert to and distribute this work in any binary,
compressed, marked up, nonproprietary or proprietary form, including any
word processing or hypertext form. However, if you provide access to or
distribute copies of a Project Gutenberg-tm work in a format other than
"Plain Vanilla ASCII" or other format used in the official version
posted on the official Project Gutenberg-tm web site (www.gutenberg.org),
you must, at no additional cost, fee or expense to the user, provide a
copy, a means of exporting a copy, or a means of obtaining a copy upon
request, of the work in its original "Plain Vanilla ASCII" or other
form. Any alternate format must include the full Project Gutenberg-tm
License as specified in paragraph 1.E.1.
1.E.7. Do not charge a fee for access to, viewing, displaying,
performing, copying or distributing any Project Gutenberg-tm works
unless you comply with paragraph 1.E.8 or 1.E.9.
1.E.8. You may charge a reasonable fee for copies of or providing
access to or distributing Project Gutenberg-tm electronic works provided
that
- You pay a royalty fee of 20% of the gross profits you derive from
the use of Project Gutenberg-tm works calculated using the method
you already use to calculate your applicable taxes. The fee is
owed to the owner of the Project Gutenberg-tm trademark, but he
has agreed to donate royalties under this paragraph to the
Project Gutenberg Literary Archive Foundation. Royalty payments
must be paid within 60 days following each date on which you
prepare (or are legally required to prepare) your periodic tax
returns. Royalty payments should be clearly marked as such and
sent to the Project Gutenberg Literary Archive Foundation at the
address specified in Section 4, "Information about donations to
the Project Gutenberg Literary Archive Foundation."
- You provide a full refund of any money paid by a user who notifies
you in writing (or by e-mail) within 30 days of receipt that s/he
does not agree to the terms of the full Project Gutenberg-tm
License. You must require such a user to return or
destroy all copies of the works possessed in a physical medium
and discontinue all use of and all access to other copies of
Project Gutenberg-tm works.
- You provide, in accordance with paragraph 1.F.3, a full refund of any
money paid for a work or a replacement copy, if a defect in the
electronic work is discovered and reported to you within 90 days
of receipt of the work.
- You comply with all other terms of this agreement for free
distribution of Project Gutenberg-tm works.
1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm
electronic work or group of works on different terms than are set
forth in this agreement, you must obtain permission in writing from
both the Project Gutenberg Literary Archive Foundation and Michael
Hart, the owner of the Project Gutenberg-tm trademark. Contact the
Foundation as set forth in Section 3 below.
1.F.
1.F.1. Project Gutenberg volunteers and employees expend considerable
effort to identify, do copyright research on, transcribe and proofread
public domain works in creating the Project Gutenberg-tm
collection. Despite these efforts, Project Gutenberg-tm electronic
works, and the medium on which they may be stored, may contain
"Defects," such as, but not limited to, incomplete, inaccurate or
corrupt data, transcription errors, a copyright or other intellectual
property infringement, a defective or damaged disk or other medium, a
computer virus, or computer codes that damage or cannot be read by
your equipment.
1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
of Replacement or Refund" described in paragraph 1.F.3, the Project
Gutenberg Literary Archive Foundation, the owner of the Project
Gutenberg-tm trademark, and any other party distributing a Project
Gutenberg-tm electronic work under this agreement, disclaim all
liability to you for damages, costs and expenses, including legal
fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
PROVIDED IN PARAGRAPH F3. YOU AGREE THAT THE FOUNDATION, THE
TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
DAMAGE.
1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
defect in this electronic work within 90 days of receiving it, you can
receive a refund of the money (if any) you paid for it by sending a
written explanation to the person you received the work from. If you
received the work on a physical medium, you must return the medium with
your written explanation. The person or entity that provided you with
the defective work may elect to provide a replacement copy in lieu of a
refund. If you received the work electronically, the person or entity
providing it to you may choose to give you a second opportunity to
receive the work electronically in lieu of a refund. If the second copy
is also defective, you may demand a refund in writing without further
opportunities to fix the problem.
1.F.4. Except for the limited right of replacement or refund set forth
in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER
WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.
1.F.5. Some states do not allow disclaimers of certain implied
warranties or the exclusion or limitation of certain types of damages.
If any disclaimer or limitation set forth in this agreement violates the
law of the state applicable to this agreement, the agreement shall be
interpreted to make the maximum disclaimer or limitation permitted by
the applicable state law. The invalidity or unenforceability of any
provision of this agreement shall not void the remaining provisions.
1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the
trademark owner, any agent or employee of the Foundation, anyone
providing copies of Project Gutenberg-tm electronic works in accordance
with this agreement, and any volunteers associated with the production,
promotion and distribution of Project Gutenberg-tm electronic works,
harmless from all liability, costs and expenses, including legal fees,
that arise directly or indirectly from any of the following which you do
or cause to occur: (a) distribution of this or any Project Gutenberg-tm
work, (b) alteration, modification, or additions or deletions to any
Project Gutenberg-tm work, and (c) any Defect you cause.
Section 2. Information about the Mission of Project Gutenberg-tm
Project Gutenberg-tm is synonymous with the free distribution of
electronic works in formats readable by the widest variety of computers
including obsolete, old, middle-aged and new computers. It exists
because of the efforts of hundreds of volunteers and donations from
people in all walks of life.
Volunteers and financial support to provide volunteers with the
assistance they need, is critical to reaching Project Gutenberg-tm's
goals and ensuring that the Project Gutenberg-tm collection will
remain freely available for generations to come. In 2001, the Project
Gutenberg Literary Archive Foundation was created to provide a secure
and permanent future for Project Gutenberg-tm and future generations.
To learn more about the Project Gutenberg Literary Archive Foundation
and how your efforts and donations can help, see Sections 3 and 4
and the Foundation web page at https://www.pglaf.org.
Section 3. Information about the Project Gutenberg Literary Archive
Foundation
The Project Gutenberg Literary Archive Foundation is a non profit
501(c)(3) educational corporation organized under the laws of the
state of Mississippi and granted tax exempt status by the Internal
Revenue Service. The Foundation's EIN or federal tax identification
number is 64-6221541. Its 501(c)(3) letter is posted at
https://pglaf.org/fundraising. Contributions to the Project Gutenberg
Literary Archive Foundation are tax deductible to the full extent
permitted by U.S. federal laws and your state's laws.
The Foundation's principal office is located at 4557 Melan Dr. S.
Fairbanks, AK, 99712., but its volunteers and employees are scattered
throughout numerous locations. Its business office is located at
809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
[email protected]. Email contact links and up to date contact
information can be found at the Foundation's web site and official
page at https://pglaf.org
For additional contact information:
Dr. Gregory B. Newby
Chief Executive and Director
[email protected]
Section 4. Information about Donations to the Project Gutenberg
Literary Archive Foundation
Project Gutenberg-tm depends upon and cannot survive without wide
spread public support and donations to carry out its mission of
increasing the number of public domain and licensed works that can be
freely distributed in machine readable form accessible by the widest
array of equipment including outdated equipment. Many small donations
($1 to $5,000) are particularly important to maintaining tax exempt
status with the IRS.
The Foundation is committed to complying with the laws regulating
charities and charitable donations in all 50 states of the United
States. Compliance requirements are not uniform and it takes a
considerable effort, much paperwork and many fees to meet and keep up
with these requirements. We do not solicit donations in locations
where we have not received written confirmation of compliance. To
SEND DONATIONS or determine the status of compliance for any
particular state visit https://pglaf.org
While we cannot and do not solicit contributions from states where we
have not met the solicitation requirements, we know of no prohibition
against accepting unsolicited donations from donors in such states who
approach us with offers to donate.
International donations are gratefully accepted, but we cannot make
any statements concerning tax treatment of donations received from
outside the United States. U.S. laws alone swamp our small staff.
Please check the Project Gutenberg Web pages for current donation
methods and addresses. Donations are accepted in a number of other
ways including including checks, online payments and credit card
donations. To donate, please visit: https://pglaf.org/donate
Section 5. General Information About Project Gutenberg-tm electronic
works.
Professor Michael S. Hart was the originator of the Project Gutenberg-tm
concept of a library of electronic works that could be freely shared
with anyone. For thirty years, he produced and distributed Project
Gutenberg-tm eBooks with only a loose network of volunteer support.
Project Gutenberg-tm eBooks are often created from several printed
editions, all of which are confirmed as Public Domain in the U.S.
unless a copyright notice is included. Thus, we do not necessarily
keep eBooks in compliance with any particular paper edition.
Each eBook is in a subdirectory of the same number as the eBook's
eBook number, often in several formats including plain vanilla ASCII,
compressed (zipped), HTML and others.
Corrected EDITIONS of our eBooks replace the old file and take over
the old filename and etext number. The replaced older file is renamed.
VERSIONS based on separate sources are treated as new eBooks receiving
new filenames and etext numbers.
Most people start at our Web site which has the main PG search facility:
https://www.gutenberg.org
This Web site includes information about Project Gutenberg-tm,
including how to make donations to the Project Gutenberg Literary
Archive Foundation, how to help produce our new eBooks, and how to
subscribe to our email newsletter to hear about new eBooks.
EBooks posted prior to November 2003, with eBook numbers BELOW #10000,
are filed in directories based on their release date. If you want to
download any of these eBooks directly, rather than using the regular
search system you may utilize the following addresses and just
download by the etext year.
https://www.gutenberg.org/etext06
(Or /etext 05, 04, 03, 02, 01, 00, 99,
98, 97, 96, 95, 94, 93, 92, 92, 91 or 90)
EBooks posted since November 2003, with etext numbers OVER #10000, are
filed in a different way. The year of a release date is no longer part
of the directory path. The path is based on the etext number (which is
identical to the filename). The path to the file is made up of single
digits corresponding to all but the last digit in the filename. For
example an eBook of filename 10234 would be found at:
https://www.gutenberg.org/1/0/2/3/10234
or filename 24689 would be found at:
https://www.gutenberg.org/2/4/6/8/24689
An alternative method of locating eBooks:
https://www.gutenberg.org/GUTINDEX.ALL
