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The horseshoe-shaped waterfall was about 300 m. across and some 30 ft. high. When the river is full it must be beautiful, for the east side, which was then absolutely dry, is covered entirely by water, which must form a wonderful series of cascades. When the river is in flood, the waterfall, extending from north-west to south-east, has a total width of 1,000 m. There were some picturesque bits of rugged foliated rock over that great staircase, and huge cracks through which the water gurgled and foamed--those fissures formed not by the erosion of water but by volcanic action, perhaps by an earthquake. The large fall to the north-west, over which the water flows in every season, had on one side of it a steep incline, down which we took the canoe until we came to a drop about 15 ft. high.

Then again there seem to me to be some simply coarse, obscene, unpleasant passages, not of relentless realism but of dull inquisitiveness. They do not attract or impress; they do not provide a contrast or an emphasis. They simply lie, like piles of filth, in rooms designed for human habitation. If it is argued that art may use any materials, I can only fall back upon my belief that such passages are as instinctively repulsive to the artistic sense as strong-smelling cheeses stacked in a library! There is no moral or ethical law against such a practice; but the aesthetic conscience of humanity instinctively condemns it. When I examine the literature which has inspired and attracted the minds of humanity, whether trained or untrained, I find that they avoid this hideous intrusion of nastiness; and I am inclined to infer that writers who introduce such episodes, and readers who like them, have some other impulse in view, which is neither the sense of beauty nor the perception of art. But if Whitman, or anyone else, can convert the world to call this art, and to enjoy it as art, then he will prove that he understands the law of preference better than I do.


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