If I were to write a description of the great cataract of America in modern Greek it would be somewhat new to the people of Athens; if I were to do the same in Arabic, it would carry freshness with it to the subjects of Abd-el-Kader; if in Hindostanee, it would be read with curiosity by the Mohammedans; but if I were to do it in English, French, Italian, or German, it would appear but a barren repetition, for the theme is well worn. Thousands have exhausted their stock of similes and power of language in the endeavor to bring clearly before the mind's eye the one famous waterfall of the world—Niagara. And, strange to say, no two descriptions have an exact affinity to each other, for, perhaps, no two men have formed exactly the same judgment upon them or viewed them with the same feelings, and this diversity has been heightened by the various aspects under which the Falls may be viewed, both as regards point of view, weather, season, light and darkness, and other local influences. There are the sublime, the sentimental, the eloquent, the pictorial, the artistic, the fanciful, the topographical, the technical, the statistical, the practical or matter-of-fact, the poetical, the legendary, the hum-drum, and the bombastic styles of describing Niagara, and each style has had its votaries. It would be interesting to the student of Niagara—for the task would amount to a study—to read all the descriptions of the great cataract ever written.