noises had run across the shivering surface of the ice. Through the foggy nights, a muffled intermittent booming went on under the wild scurrying stars. Now and then a staccato crackling ran up the icy reaches of the river, like the sequent bickering of Krags down a firing line. Long seams opened in the disturbed surface, and from them came a harsh sibilance as of a line of cavalry unsheathing sabres.
But all the while, no show of violence—only the awful quietness with deluge potential in it. The lion was crouching for the leap.
Then one day under the warm sun a booming as of distant big guns began. Faster and louder came the dull shaking thunders, and passed swiftly up and down, drawling into the distance. Fissures yawned, and the sound of the grumbling black water beneath came up. Here and there the surface lifted—bent—broke with shriekings, groanings, thunderings. And then——
The giant turned over, yawned and got to his feet, flinging his arms about him! Barriers formed before him. Confidently he set his massive shoulders against them—smashed them into little blocks, and went on singing, shouting, toward the sea. It was a glorious victory. It made me very proud of my big brother. And yet all the while I dreaded him—just as I dread the caged tiger that I long to caress because he is so strong and so beautiful.
Since then I have changed somewhat, though I am hardly as tall, and certainly not so courageous as Alexander. But I have felt the sinews of the old yellow giant tighen about my naked body. I have been bent upon his hip. I have presumed to throw against his Titan strength the craft of man. I have often swum in what seemed liquid madness to my boyhood. And we have become acquainted through battle. No friends like fair foes reconciled!
And I have been panting on his bars, while all about me went the lisping laughter of my brother. For he has the strength of a god, the headlong temper of a comet; but along with these he has the glad, mad, irresponsible spirit of a boy. Thus ever are the epic things.
The Missouri is unique among rivers. I think God wished to teach the beauty of a virile soul fighting its way toward peace—and His precept was the Missouri. To me, the Amazon is a basking alligator; the Tiber is a dream of dead glory; the Rhine is a fantastic fairy-tale; the Nile a mummy, periodically resurrected; the Mississippi, a convenient geographical boundary line; the Hudson, an epicurean philosopher.
But the Missouri—my brother—is the eternal Fighting Man!
I love things that yearn toward far seas: the singing Tennysonian brooks that flow by "Philip's farm" but "go on forever"; the little Ik Walton rivers, where one may "study to be quiet and go a-fishing"! The Babylonian streams by which we have all pined in captivity; the sentimental Danube's which we can never forget because of "that night in June"; and at a very early age I had already developed a decent respect for the verbose manner in which the "waters come down at Lodore."
But the Missouri is more than a sentiment—even more than an epic. It is the symbol of my own soul, which is, I surmise, not unlike other souls. In it I see flung before me all the stern world-old struggle become materialized. Here is the concrete representation of the earnest desire, the momentarily frustrate purpose, the beating at the bars, the breathless fighting of the half-whipped but never-to-be-conquered spirit, the sobbing of the wind-broken runner, the anger, the madness, the laughter. And in it all the unwearying urge of a purpose, the unswerving belief in the peace of a far away ocean.
If in a moment of despair I should reel for a breathing space away from the fight, with no heart for battle-cries, and with only a desire to pray, I could do it in no better manner than to lift my arms above the river and cry out into the big spaces: "You who somehow understand—behold this river! It expresses what is voiceless in me. It prays for me!"
Not only in its physical aspect does the Missouri appeal to the imagination. From Three Forks to its mouth—a distance of three thousand miles—this zigzag watercourse is haunted with great memories. Perhaps never before in the history of the world has a river been the thoroughfare of a movement so tremendously epic in its human appeal, so vastly significant in its relation to the development of man. And in the building of the continent Nature fashioned well the scenery for the great human story that was to be enacted here in the fullness of years. She built her stage on a large scale, taking no account of miles; for the coming actors were to be big men, mighty travelers, intrepid fighters, laughers at time and space. Plains limited only by the rim of sky; mountains severe, huge, tragic as fate; deserts for the trying of strong spirits; grotesque volcanic lands—dead, utterly ultra-human—where athletic souls might struggle with despair; impetuous streams with their rapids terrible as Scylla, where men might go down fighting: thus Nature built the stage and set the scenes. And that the arrangements might be complete, she left a vast tract unfinished, where still the building of the world goes on—a place of awe in which to feel the mighty Doer of Things at work. Indeed, a setting vast and weird enough for the coming epic. And as the essence of all story is struggle, tribes of wild fighting men grew up in the land to oppose the coming masters; and over the limitless wastes swept the blizzards.
I remember when I first read the words of Vergil beginning Ubi tot Simois, "where the Simois rolls along so many shields and helmets and strong bodies of brave men snatched beneath its floods." The far-seeing sadness of the lines thrilled me; for it was not of the little stream of the Æneid that I thought while the Latin professor quizzed me as to constructions, but of that great river of my own epic country—the Missouri. Was I unfair to old Vergil, think you? As for me, I think I flattered him a bit! And in this modern application, the ancient lines ring true. For the Missouri from Great Falls to its mouth is one long grave of men and boats. And such men!
It is a time-honored habit to look back through the ages for the epic things. Modern affairs seem a bit commonplace to some of us. A horde of semi-savages tears down a town in order to avenge the theft of a faithless wife who was probably no better than she should have been—and we have the Iliad. A petty king sets sail for his native land, somehow losing himself ten years among the isles of Greece—and we have the Odyssey. (I would back a Missouri River "rat" to make the distance in a row boat within a few months!) An Argive captain returns home after an absence of ten years to find his wife interested overmuch in a friend who went not forth to battle; a wrangle ensues; the tender spouse finishes her lord with an axe—and you have the Agamemnon. (To-day we should merely have a sensational trial, and hysterical scareheads in the newspapers.) Such were the ancient stories that move us all—sordid enough, be sure, when you push them hard for fact. But time and genius have glorified them. Not the deeds, but Homer and Æschylus and the hallowing years are great.
We no longer write epics—we live them. To create an epic, it has been said somewhere, the poet must write with the belief that the immortal gods are looking over his shoulder.
We no longer prostrate ourselves before the immortal gods. We have long since discovered the divinity within ourselves, and so we have flung across the continents and the seas the visible epics of will.
The history of the American fur trade alone makes the Trojan War look like a Punch and Judy show! and the Missouri River was the path of the conquerors. We have the facts—but we have not Homer.
An epic story in its essence is the story of heroic men battling, aided or frustrated by the superhuman. And in the fur trade era there was no dearth of battling men, and the elements left no lack of superhuman obstacles.
I am more thrilled by the history of the Lewis and Clark expedition than by the tale of Jason. John Colter, wandering three years in the wilderness and discovering the Yellowstone Park, is infinitely more heroic to me that Theseus. Alexander Harvey makes Æneas look like a degenerate. It was Harvey, you know, who fell out with the powers at Fort Union, with the result that he was ordered to report at the American Fur Company's office at St. Louis before he could be reinstated in the service. This was at Christmas time—Christmas
