man-hauled their frail flesh to the Poles, and encountered conditions so difficult that, for instance, it commonly took members of Scott’s South Polar party several hours each morning to put on their boots. Day and night they did miserable, niggling, and often fatal battle with frostbitten toes, diarrhea, bleeding gums, hunger, weakness, mental confusion, and despair.
They man-hauled their sweet human absurdity to the Poles. When Robert E. Peary and Matthew Henson reached the North Pole in 1909, Peary planted there in the frozen ocean, according to L. P. Kirwan, the flag of the Dekes: “the colours of the Delta Kappa Epsilon Fraternity at Bowdoin College, of which Peary was an alumnus.”
Polar explorers must adapt to conditions. They must adapt, on the one hand, to severe physical limitations; they must adapt, on the other hand—like the rest of us—to ordinary emotional limitations. The hard part is in finding a workable compromise. If you are Peary and have planned your every move down to the last jot and tittle, you can perhaps get away with carrying a Deke flag to the North Pole, if it will make you feel good. After eighteen years’ preparation, why not feel a little good? If you are an officer with the Franklin expedition and do not know what you are doing or where you are, but think you cannot eat food except from sterling silver tableware, you cannot get away with it. Wherever we go, there seems to be only one business at hand—that of finding workable compromises between the sublimity of our ideas and the absurdity of the fact of us.
They made allowances for their emotional needs. Over-wintering expedition ships commonly carried, in addition to sufficient fuel, equipment for the publication of weekly newspapers. The brave polar men sat cooling their heels in medias nowhere, reading in cold type their own and their bunkmates’ gossip, in such weeklies as Parry’s Winter Chronicle and North Georgia Gazette, Nansen’s Framsjaa, or Scott’s South Polar Times and The Blizzard. Polar explorers also amused themselves with theatrical productions. If one had been frozen into the pack ice off Ross Island near Antarctica, aboard Scott’s ship Discovery, one midwinter night in 1902, one could have seen the only performance of Ticket of Leave, a screaming comedy in one act. Similarly, if, in the dead of winter, 1819, one had been a member of young Edward Parry’s expedition frozen into the pack ice in the high Arctic, one could have caught the first of a series of fortnightly plays, an uproarious success called Miss in her Teens. According to Kirwan, “‘This,’ Parry dryly remarked, ‘afforded to the men such a fund of amusement as fully to justify the expectations we had formed of the utility of theatrical entertainments.’” And you yourself, Royal Navy Commander Edward Parry, were you not yourself the least bit amused? Or at twenty-nine years old did you still try to stand on your dignity?
The Land
God does not demand that we give up our personal dignity, that we throw in our lot with random people, that we lose ourselves and turn from all that is not him. God needs nothing, asks nothing, and demands nothing, like the stars. It is a life with God which demands these things.
Experience has taught the race that if knowledge of God is the end, then these habits of life are not the means but the condition in which the means operates. You do not have to do these things; not at all. God does not, I regret to report, give a hoot. You do not have to do these things—unless you want to know God. They work on you, not on him.
You do not have to sit outside in the dark. If, however, you want to look at the stars, you will find that darkness is necessary. But the stars neither require nor demand it.
The Technology
It is a matter for computation: how far can one walk carrying how much silver? The computer balks at the problem; there are too many unknowns. The computer puts its own questions: Who is this “one”? What degree of stamina may we calculate for? Under what conditions does this one propose to walk, at what latitudes? With how many companions, how much aid?
THE PEOPLE
The Mass has been building to this point, to the solemn saying of those few hushed phrases known as the Sanctus. We have confessed, in a low, distinct murmur, our sins; we have become the people broken, and then the people made whole by our reluctant assent to the priest’s proclamation of God’s mercy. Now, as usual, we will, in the stillest voice, stunned, repeat the Sanctus, repeat why it is that we have come:
Holy, holy, holy Lord,
God of power and might,
heaven and earth are full of your glory . . .
It is here, if ever, that one loses oneself at sea. Here, one’s eyes roll up, and the sun rolls overhead, and the floe rolls underfoot, and the scene of unrelieved ice and sea rolls over the planet’s pole and over the world’s rim wide and unseen.
Now, just as we are dissolved in our privacy and about to utter the words of the Sanctus, the lead singer of Wildflowers bursts onstage from the wings. I raise my head. He is taking enormous, enthusiastic strides and pumping his guitar’s neck up and down. Drooping after him come the orange-haired country-and-western-style woman; the soprano, who, to shorten herself, carries her neck forward like a horse; the withdrawn boy; and the Chinese man, who is holding a tambourine as if it had stuck by some defect to his fingers and he has resolved to forget about it. These array themselves in a clump downstage right. The priest is nowhere in sight.
Alas, alack, oh brother, we are going to have to sing the Sanctus. There is, of course, nothing new about singing the Sanctus. The lead singer smiles disarmingly. There is a new arrangement. He hits a chord with the flat of his hand. The Chinese man with sudden vigor bangs the tambourine and looks at his hands, startled. They run us through the Sanctus three or four times. The words are altered a bit to fit the strong upbeat rhythm:
Heaven and earth
(Heaven and earth earth earth earth earth)
Are full (full full full)
Of your glory . . .
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