The Forest | Page 9

the cakes, attempting to stir a pot of rice often enough to prevent it from burning, and trying to rustle sufficient dry wood to keep the fire going. This diversity of interests certainly made him sit up and pay attention. At each instant he had to desert his flour-sack to rescue the coffee-pot, or to shift the kettle, or to dab hastily at the rice, or to stamp out the small brush, or to pile on more dry twigs. His movements were not graceful. They raised a scurry of dry bark, ashes, wood dust, twigs, leaves, and pine needles, a certain proportion of which found their way into the coffee, the rice, and the sticky batter, while the smaller articles of personal belonging, hastily dumped from the duffel-bag, gradually disappeared from view in the manner of Pompeii and ancient Vesuvius. Dick burned his fingers and stumbled about and swore, and looked so comically-pathetically red-faced through the smoke that I, seated on the log, at the same time laughed and pitied. And in the end, when he needed a continuous steady fire to fry his cakes, he suddenly discovered that dry twigs do not make coals, and that his previous operations had used up all the fuel within easy circle of the camp.
So he had to drop everything for the purpose of rustling wood, while the coffee chilled, the rice cooled, the bacon congealed, and all the provisions, cooked and uncooked, gathered entomological specimens. At the last, the poor bedeviled theorist made a hasty meal of scorched food, brazenly postponed the washing of dishes until the morrow, and coiled about his hummocky couch to dream the nightmares of complete exhaustion.
Poor Dick! I knew exactly how he felt, how the low afternoon sun scorched, how the fire darted out at unexpected places, how the smoke followed him around, no matter on which side of the fire he placed himself, how the flies all took to biting when both hands were occupied, and how they all miraculously disappeared when he had set down the frying-pan and knife to fight them. I could sympathize, too, with the lonely, forlorn, lost-dog feeling that clutched him after it was all over. I could remember how big and forbidding and unfriendly the forest had once looked to me in like circumstances, so that I had felt suddenly thrust outside into empty spaces. Almost was I tempted to intervene; but I liked Dick, and I wanted to do him good. This experience was harrowing, but it prepared his mind for the seeds of wisdom. By the following morning he had chastened his spirit, forgotten the assurance breathed from the windy pages of the Boy Trapper Library, and was ready to learn.
Have you ever watched a competent portraitist at work? The infinite pains a skilled man spends on the preliminaries before he takes one step towards a likeness nearly always wears down the patience of the sitter. He measures with his eye, he plumbs, he sketches tentatively, he places in here a dab, there a blotch, he puts behind him apparently unproductive hours--and then all at once he is ready to begin something that will not have to be done over again. An amateur, however, is carried away by his desire for results. He dashes in a hit-or-miss early effect, which grows into an approximate likeness almost immediately, but which will require infinite labour, alteration, and anxiety to beat into finished shape.
The case of the artist in making camps is exactly similar, and the philosophical reasons for his failure are exactly the same. To the superficial mind a camp is a shelter, a bright fire, and a smell of cooking. So when a man is very tired he cuts across lots to those three results. He pitches his tent, lights his fire, puts over his food--and finds himself drowned in detail, like my friend Dick.
The following is, in brief, what during the next six weeks I told that youth, by precept, by homily, and by making the solution so obvious that he could work it out for himself.
When five or six o'clock draws near, begin to look about you for a good level dry place, elevated some few feet above the surroundings. Drop your pack or beach your canoe. Examine the location carefully. You will want two trees about ten feet apart, from which to suspend your tent, and a bit of flat ground underneath them. Of course the flat ground need not be particularly unencumbered by brush or saplings, so the combination ought not to be hard to discover. Now return to your canoe. Do not unpack the tent.
With the little axe clear the ground thoroughly. By bending a sapling over strongly with the left hand, clipping sharply at the strained fibres, and then bending it as strongly