Still farther along towards the steep slopes of the main coast, I saw Ahwynet, all alone in the gloomy shadow of great cliffs. Her story was told in chants and moans. Her husband and all her children had been swept by an avalanche into the stormy seas. There was a kind of wild poetry in the song of her bereavement. Tears came to my eyes. The rush of the avalanche, the hiss of the wind, the pounding of the seas, were all indicated. And then, in heart-breaking tones, came "blood of her blood, flesh of her flesh, under the frozen waters," and other sentiments which I could not catch in the undertone of sobs.
Cold shivers began to run up my spine, and I turned to retreat to camp. Here was a scene that perhaps a Dante might adequately write about. I cannot. I felt that I, an alien, was intruding into the realm of some strange and mystic sorrow. I felt the sombre thrill of a borderland world not human. These women were communicating with the souls of their dead. To those who had perished in the sea they were telling, ere the gates of ice closed above them, all the news of the past year—things of interest and personal, and even of years before, as far back as they could remember. Almost every family each year loses someone in the sea; almost every family was represented by these weeping women, overburdened with their own naive sorrow, and who yet strangely sought to cheer the souls of the disconsolate and desolate dead.
Meanwhile, while the women were weeping and giving their parting messages to the dead, the male members of the tribe, in chants and dramatic dances, were celebrating, in the igloos, the important events of the past year.
Inside, the igloos were dimly lighted with stone blubber lamps. These, during the entire winter, furnish light and heat. The lamp consists of a crescent-shaped stone with a concavity, in which there is animal oil and a line of crushed moss as a wick. Lighted early in the season, for an entire winter, these lamps cast a faint, perpetual, flickering light. Shadows dance grotesquely about on the rounded walls. An oily stench pervades the unventilated enclosure. In this weird, yellow-blackish radiance the men engage in their fantastic dances. Moving the central parts of their bodies to and fro, they utter weird sing-song chants. They recite, in jerky, curious singing, the history of the big events of the year; of successful chases; of notable storms; of everything that means much in their simple lives. As they dance, their voices rise to a high pitch of excitement. Their eyes flash like smoldering coals. Their arms move frantically. Some begin to sob uncontrollably. A hysteria of laughter seizes others. Finally the dance ends; exhausted, they pass into a brief lethargy, from which they revive, their melancholia departed. The women return from the shores of the sea; they wipe their tears, and, with native spontaneity, forget their depression and smile again.
While I was interested in the curious spectacles presented, the sunset of 1907 to me was inspiration for the final work in directing the completion of the outfit with which to begin the conquest of the Pole at sunrise of 1908. Fortunately, I was not handicapped by the company of the usual novices taken on Polar expeditions. There were only two of us white men, and white men, at the best, must be regarded as amateurs compared with the expert efficiency of Eskimos in their own environment. Our food supply contained only the prime factors of primitive nourishment. Special foods and laboratory concoctions and canned delicacies did not fill an important space in our larder. Nor had we balloons, automobiles, motor sleds or other freak devices. We did, however, I have said, have what was of utmost importance, an abundance of the best hickory and metal for the making of the sleds upon which our destinies were vitally to depend.
FIRST WEEK OF THE LONG NIGHT
HUNTING IN THE ARCTIC TWILIGHT—PURSUING BEAR, CARIBOU AND SMALLER GAME IN SEMI-GLOOM