On Canada's Frontier: Sketches of History, Sport, and Adventure and of the Indians, Missionaries, Fur-traders, and Newer Settlers of Western CanadaRalph, Julian
History
On Canada's Frontier: Sketches of History, Sport, and Adventure and of the Indians, Missionaries, Fur-traders, and Newer Settlers of Western Canada
Ralph, Julian
Hudson's Bay Company -- History; Indians of North America -- Canada; Northwest, Canadian -- Description and travel
All this was translated to Crowfoot--or Saponaxitaw, for that was his
Indian name--and he chuckled and grinned, and poked the priest in the
side with his knuckles. And good Father Lacombe felt the magnetism of
his own words and memory, and clapped the chief on the shoulder, while
both laughed heartily at the climax, with the accompanying mental
picture of the discomfited Bloods running away, and the clergyman
ordering their instant destruction.
There may not be such another meeting and rehearsal on this continent
again. Those two men represented the passing and the dominant races of
America; and yet, in my view, the learned and brave and kindly
missionary is as much a part of the dead past as is the royalty that
Crowfoot was the last to represent.
[Footnote 1: Since this was written Father Lacombe's work has been
continued at Fort McLeod in the same province as Calgary. In this
smaller place he finds more time for his literary pursuits.]
IV
ANTOINE'S MOOSE-YARD
[Illustration]
It was the night of a great dinner at the club. Whenever the door of the
banqueting hall was opened, a burst of laughter or of applause disturbed
the quiet talk of a few men who had gathered in the reading-room--men of
the sort that extract the best enjoyment from a club by escaping its
functions, or attending them only to draw to one side its choicest
spirits for never-to-be-forgotten talks before an open fire, and over
wine and cigars used sparingly.
"I'm tired," an artist was saying--"so tired that I have a horror of my
studio. My wife understands my condition and bids me go away and rest."
"That is astonishing," said I; "for, as a rule, neither women nor men
can comprehend the fatigue that seizes an artist or writer. At most of
our homes there comes to be a reluctant recognition of the fact that we
say we are tired, and that we persist in the assumption by knocking off
work. But human fatigue is measured by the mile of walking, or the cords
of firewood that have been cut, and the world will always hold that if
we have not hewn wood or tramped all day, it is absurd for us to talk
of feeling tired. We cannot alter this; we are too few."
"Yes," said another of the little party. "The world shares the feeling
of the Irishman who saw a very large, stout man at work at reporting in
a courtroom. 'Faith!' said he, 'will ye look at the size of that man--to
be airning his living wid a little pincil?' The world would acknowledge
our right to feel tired if we used crow-bars to write or draw with; but
pencils! pshaw! a hundred weigh less than a pound."
"Well," said I, "all the same, I am so tired that my head feels like
cork; so tired that for two days I have not been able to summon an idea
or turn a sentence neatly. I have been sitting at my desk writing
wretched stuff and tearing it up, or staring blankly out of the window."
Public-domain text, read in full here on John Shaqi.
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