The younger of the trappers, he who has figured under the name of La Bonté, had excited, by scraps and patches from his history, no little curiosity in the stranger's mind to learn the ups and downs of his career; and one night, when they assembled earlier than usual at the fire, he prevailed upon the modest trapper to “unpack” some passages in his wild adventurous life.
“Maybe,” commenced the mountaineer, “you both remember when old Ashley went out with the biggest kind of band to trap the Columbia, and head-waters of Missoura and Yellow Stone. Well, that was the time this niggur first felt like taking to the mountains.”
This brings us back to the year of our Lord 1825; and perhaps it will be as well, in order to render La Bonté's mountain language intelligible, to translate it at once into tolerable English, and to tell in the third person, but from his own lips, the scrapes which befell him in a sojourn of more than twenty years in the Far West, and the causes that impelled him to quit the comfort and civilisation of his home, to seek the perilous but engaging life of a trapper of the Rocky Mountains.
La Bonté was raised in the state of Mississippi, not far from Memphis, on the left bank of that huge and snag-filled river. His father was a Saint Louis Frenchman, his mother a native of Tennessee. When a boy, our trapper was “some,” he said, with the rifle, and always had a hankering for the west; particularly when, on accompanying his father to Saint Louis every spring, he saw the different bands of traders and hunters start upon their annual expeditions to the mountains. Greatly did he envy the independent, insouciant trappers, as, in all the glory of beads and buckskin, they shouldered their rifles at Jake Hawkin's door (the rifle-maker of St Louis), and bade adieu to the cares and trammels of civilised life.
However, like a thoughtless beaver-kitten, he put his foot into a trap one fine day, set by Mary Brand, a neighbour's daughter, and esteemed “some punkins,” or in other words toasted as the beauty of Memphis County, by the susceptible Mississippians. From that moment he was “gone beaver;” “he felt queer,” he said, “all over, like a buffalo shot in the lights; he had no relish for mush and molasses; homminy and johnny cakes failed to excite his appetite. Deer and turkeys ran by him unscathed; he didn't know, he said, whether his rifle had hind-sights or not. He felt bad, that was a fact; but what ailed him he didn't know.”
Mary Brand—Mary Brand—Mary Brand! the old Dutch clock ticked it. Mary Brand! his head throbbed it when he lay down to sleep. Mary Brand! his rifle-lock spoke it plainly when he cocked it, to raise a shaking sight at a deer. Mary Brand, Mary Brand! the whip-poor-will sung it, instead of her own well-known note; the bull-frogs croaked it in the swamp, and mosquitoes droned it in his ear as he tossed about his bed at night, wakeful, and striving to think what ailed him.
Who could that strapping young fellow, who passed the door just now, be going to see? Mary Brand: Mary Brand. And who can Big Pete Herring be dressing that silver fox-skin so carefully for? For whom but Mary Brand? And who is it that jokes, and laughs, and dances, with all the “boys” but him; and why?
Who but Mary Brand: and because the love-sick booby carefully avoids her.
“And Mary Brand herself—what is she like?”
“She's 'some' now; that is a fact, and the biggest kind of punkin at that,” would have been the answer from any man, woman, or child in Memphis County, and truly spoken, too; always understanding that the pumpkin is the fruit by which the ne-plus-ultra of female perfection is expressed amongst the figuratively-speaking westerns.