A SKETCH ON THE WORK
Dan Dunn's tent was just in front of the mess tent, a few feet away on the edge of the river bluff. It was a little "A" tent, with a single cot on one side, a wooden chest on the other, and a small table between the two at the farther end, opposite the door.
"Are ye looking at my wolverenes?" said he. "There's good men among them, and some that ain't so good, and many that's worse. But railroading is good enough for most of 'em. It ain't too rich for any man's blood, I assure ye."
Over six feet in height, broad-chested, athletic, and carrying not an ounce of flesh that could be spared, Dan Dunn's was a striking figure even where physical strength was the most serviceable possession of every man. From never having given his personal appearance a thought—except during a brief period of courtship antecedent to the establishment of a home in old Ontario—he had so accustomed himself to unrestraint that his habitual attitude was that of a long-bladed jack-knife not fully opened. His long spare arms swung limberly before a long spare body set upon long spare legs. His costume was one that is never described in the advertisements of city clothiers. It consisted of a dust-coated slouch felt hat, which a dealer once sold for black, of a flannel shirt, of homespun trousers, of socks, and of heavy "brogans." In all, his dress was what the æsthetes of Mr. Wilde's day might have aptly termed a symphony in dust. His shoes and hat had acquired a mud-color, and his shirt and trousers were chosen because they originally possessed it. Yet Dan Dunn was distinctly a cleanly man, fond of frequent splashing in the camp toilet basins—the Kootenay River and its little rushing tributaries. He was not shaven. As a rule he is not, and yet at times he is, as it happens. I learned that on Sundays, when there was nothing to do except to go fishing, or to walk over to the engineer's camp for intellectual society, he felt the unconscious impulse of a forgotten training, and put on a coat. He even tied a black silk ribbon under his collar on such occasions, and if no one had given him a good cigar during the week, he took out his best pipe (which had been locked up, because whatever was not under lock and key was certain to be stolen in half an hour). Then he felt fitted, as he would say, "for a hard day's work at loafing."
THE MESS TENT AT NIGHT
If you came upon Dan Dunn on Broadway, he would look as awkward as any other animal removed from its element; yet on a forest trail not even Davy Crockett was handsomer or more picturesque. His face is reddish-brown and as hard-skinned as the top of a drum, befitting a man who has lived out-of-doors all his life. But it is a finely moulded face, instinct with good-nature and some gentleness. The witchery of quick Irish humor lurks often in his eyes, but can quickly give place on occasion to a firm light, which is best read in connection with the broad, strong sweep of his massive under-jaw. There you see his fitness to command small armies, even of what he calls "wolverenes." He is willing to thrash any man who seems to need the operation, and yet he is equally noted for gathering a squad of rough laborers in every camp to make them his wards. He collects the money such men earn, and puts it in bank, or sends it to their families.
"It does them as much good to let me take it as to chuck it over a gin-mill bar," he explained.