Marching on Niagara; Or, The Soldier Boys of the Old Frontier — Reading Notes
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This digital edition of Marching on Niagara; Or, The Soldier Boys of the Old Frontier — Reading Notes is described by source-level measurements including 66,857 words, 4 hr 51 min estimated reading time, and 7 detected text sections.
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Read the Text
Buffalo had gained her childish confidence.
"Nor would I be afraid," came from Mrs. Morris. "But all Indians are not as kind and true as White Buffalo, and if they should ever go on the war-path and move this way--" She did not finish, but shook her head sadly.
"If they should come this way we will do our best to fight them off," said James Morris. "But let us hope it will never come to that. The butchery at the trading post was enough, I should not wish to see such doings around our homestead."
Dave and Henry had left home an hour before, hoping to bring back with them at least one deer if not two. Henry was a great hunter, having brought down many a bird on the wing and squirrel on the run, and he knew that if he could only get a fair sight at a deer the game would be his. As old readers know, Dave was likewise a good shot, so it was likely that the youths would bring back something if any game showed itself.
It was a cool, clear day, with just a touch of snow on the ground, ideal weather for hunting, and as the boys pushed on each felt in excellent spirits despite the talk about the Indians. So far as they knew there was no Indian settlement within miles of them nor were there any wandering redskins within half a day's journey.
"Hullo, there go half a dozen rabbits!" cried Dave, presently, and pointed through a little clearing to their left.
"Don't shoot!" cried his cousin, although Dave had not raised his flint-lock musket. "If you do you'll scare the deer sure--if they are within hearing."
"I wasn't going to shoot, Henry. But just look at the beggars, sitting up and looking at us! I reckon they know they are safe."
"Since the fighting with the French there hasn't been much hunting through here, and so the game is quite tame. But they won't sit long--there they go now. Come."
The pair resumed their journey through the forest, Henry leading the way, for he had been over this trail several times before. Birds were numerous, and they could have filled their canvas bag with ease, had they felt inclined. But the minds of both were on the deer, and to Henry at least it was such game or nothing, although Dave might have contented himself with something smaller. Yet both knew that Mrs. Morris would look forward with pleasure to getting some fresh venison for her table.
At length the pair reached the lower creek which Henry had mentioned. Here the stream which flowed past the Morris homestead split into several arms, one flowing through a wide clearing and the others entering the forest and passing around a series of rough rocks and a cliff nearly fifty feet high. At this point the forest had never yet felt the weight of the white man's axe and trees had stood there until brought low by storm or the weight of years.
"Go slow now," whispered Henry, as he caught his cousin by the arm. "If they hear us the game is up."
"The wind is with us," returned Dave. Nevertheless, he slowed up as desired, and then the pair moved forward with extreme caution, each having seen to it that his firearm was ready for immediate use.
Suddenly Henry came to a halt and dropped almost flat behind a rock, and Dave instantly followed. Coming around a short turn they had caught sight of four deer, standing hoof-deep in the water drinking. All the heads were down, but as the youths looked in the direction that of an old buck came up with a jerk and he sniffed the air suspiciously.
"Take the nearest," whispered Henry, softly and quickly. "Ready?"
"Yes," was the low reply.
There was a second of silence and then the two guns spoke as one piece, the reports echoing and re-echoing throughout the mighty forest and along the cliff. The deer Henry had aimed at fell down in the water, plunging wildly in its dying agonies, while that struck by Dave hobbled painfully up the bank. The others, including the old buck, turned and sped off with the swiftness of the wind.
"Huzza! we have 'em!" shouted Henry. "Come on!" and he leaped to his feet with Dave beside him. Not far off a dead tree lay across the stream and they quickly climbed this, so as not to get their feet wet. When they gained the spot where the deer had been drinking they found Henry's quarry quite dead. The deer Dave had hit was thrashing around in some brushwood.
Edward Stratemeyer's Marching on Niagara; Or, The Soldier Boys of the Old Frontier (1902) opens with a preface that situates the story within the French and Indian War, naming real figures like George Washington and General Forbes. The narrative voice shifts between formal historical summary and colloquial dialogue, as when a character describes frontiersmen who paint their faces "jes' fer the sport on't." This blend of registers creates a distinctive tone that moves from panoramic exposition to intimate campfire exchanges.
Historical Framing and Narrative Voice
The preface and early chapters establish a dual voice: one that reports events with the gravity of a history textbook—"The defeat of the British forces left this section of the English colonies at the mercy of both the French and their savage Indian allies"—and another that adopts the colloquialisms of the frontier. The narrator frequently uses phrases like "some industrious enough, but others given to drink and brawling" to characterize settlers, blending judgment with observation. This voice is not neutral; it carries an implicit moral framework, praising industriousness while condemning lawlessness. The contrast between the formal preface and the dialogue-heavy scenes that follow creates a deliberate shift in register, signaling that the book will oscillate between educating the reader about historical context and immersing them in the characters' immediate experiences.
Pacing Through Action and Dialogue
Stratemeyer varies pacing by alternating between descriptive passages and rapid dialogue. In one scene, the brothers Dave and Henry argue with their mother about joining the army: a long argument is summarized in a single paragraph, then the narrative jumps to "a few days later" with a gala departure. The march itself is rendered in quick strokes—"the music came to an end, and the command moved on by the route step"—before slowing for a detailed swimming episode. This episode, where Henry tumbles into the water after a wildcat, is the most vivid action in the excerpts, with short, punchy sentences: "After him tumbled a wildcat, snarling in rage." The contrast between the compressed summary of the argument and the expanded action of the swim illustrates how Stratemeyer uses pacing to highlight key moments of danger or character interaction.
Recurring Details and Thematic Signals
Several recurring details in the excerpts hint at broader themes. The mention of "military jealousy" between English officers and colonials—"English officers hate to see a colonial get ahead of them"—appears in dialogue, not narration, suggesting that the author uses character speech to introduce political tensions. The motif of captivity is introduced through Nell and the Rose twins, mentioned as a motivation for the brothers. The landscape itself is a recurring presence: the "rough" trail, the "large brook," and the tree branch that conceals a wildcat all serve as obstacles or settings for action. These details are not merely decorative; they reinforce the precariousness of frontier life and the constant threat of the natural world. The wildcat attack, in particular, literalizes the danger lurking in seemingly innocent settings, a pattern that likely continues throughout the novel.
Readers attentive to shifts in register will notice how Stratemeyer uses dialogue to inject political commentary and personal stakes into a historical framework. The pacing—alternating between compressed summaries and expanded scenes—directs attention to moments of physical danger or moral decision. Pay particular attention to how the narrator's voice changes when describing military strategy versus camp life; these shifts reveal the author's priorities in balancing education with adventure.
Reading Marching on Niagara, I noticed how Stratemeyer’s frontier boys carried history in their chatter, the old maps and musket smoke always folding into their next step. That same quiet weight of place and era came back to me while leafing through The Boy Scouts on Belgian Battlefields — Text and Context, where the fields feel just as burdened, just as alive with footsteps from another century.
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