Summary

Portrait of Gilbert Parker Gilbert Parker A Romany of the Snows — The Bridge House (1898)

Pierre, measuring the distance, and with a “Look out, below!” swiftly let himself down by his arms as far as he could, and then dropped to the timbers, as lightly as if it were a matter of two feet instead of twelve. He waved a hand to Brydon, and the crib shot on. Brydon sat eyeing it abstractedly till it ran into the teeth of the rapids, the long oars of the three men rising and falling to the monotonous cry. The sun set out the men and the craft against the tall dark walls of the river in strong relief, and Brydon was carried away from what Pierre had been saying.
Source: Wikisource

Portrait of Gilbert Parker Gilbert Parker A Romany of the Snows — The Bridge House (1898)

These were approaches to the big covered bridge spanning the main channel of the Madawaska River, and when swelled by the spring thaws and rains, the two flanking channels divided at the foundations of the house, and rustled away through the narrow paths of the small bridges to the rapids. You could stand at any window in the House and watch the ugly, rushing current, gorged with logs, come battering at the wall, jostle between the piers, and race on to the rocks and the dam and the slide beyond.
Source: Wikisource

Portrait of Gilbert Parker Gilbert Parker A Romany of the Snows — The Bridge House (1898)

A gold medal in anatomy is likely to turn a lad's head at the start. He falls into the error that the ability to demonstrate the medulla oblongata should likewise suffice to convince the heart of a maid. Pierre enjoyed the situation; he knew life all round; he had boxed the compass of experience. He believed in Judith. The old man interested him: he was a wreck out of an unfamiliar life.
“Well, you see,” Pierre said to Brydon one day, as they sat on the high cross-beams of the little bridge, “you can't kill it in a man—what he was born. Look, as he piles up the driftwood over there.
Source: Wikisource

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