Not for nothing had he first seen the light of day in a lonely lair and fought his first fights with the ptarmigan, the weasel, and the lynx. And not for nothing had his puppyhood been made bitter by the persecution of Lip–lip and the whole puppy pack. It might have been otherwise, and he would then have been otherwise. Had Lip–lip not existed, he would have passed his puppyhood with the other puppies and grown up more doglike and with more liking for dogs. Had Grey Beaver possessed the plummet of affection and love, he might have sounded the deeps of White Fang's nature and brought up to the surface all manner of kindly qualities. But these things had not been so. The clay of White Fang had been moulded until he became what he was, morose and lonely, unloving and ferocious, the enemy of all his kind.

With the simpler creatures, good and bad are things simply understood. The good stands for all things that bring easement and satisfaction and surcease from pain. Therefore, the good is liked. The bad stands for all things that are fraught with discomfort, menace, and hurt, and is hated accordingly. White Fang's feel of Beauty Smith was bad. From the man's distorted body and twisted mind, in occult ways, like mists rising from malarial marshes, came emanations of the unhealth within. Not by reasoning, not by the five senses alone, but by other and remoter and uncharted senses, came the feeling to White Fang that the man was ominous with evil, pregnant with hurtfulness, and therefore a thing bad, and wisely to be hated.

White Fang was in Grey Beaver's camp when Beauty Smith first visited it. At the faint sound of his distant feet, before he came in sight, White Fang knew who was coming and began to bristle. He had been lying down in an abandon of comfort, but he arose quickly, and, as the man arrived, slid away in true wolf–fashion to the edge of the camp. He did not know what they said, but he could see the man and Grey Beaver talking together. Once, the man pointed at him, and White Fang snarled back as though the hand were just descending upon him instead of being, as it was, fifty feet away. The man laughed at this; and White Fang slunk away to the sheltering woods, his head turned to observe as he glided softly over the ground.

Grey Beaver refused to sell the dog. He had grown rich with his trading and stood in need of nothing. Besides, White Fang was a valuable animal, the strongest sled–dog he had ever owned, and the best leader. Furthermore, there was no dog like him on the Mackenzie nor the Yukon. He could fight. He killed other dogs as easily as men killed mosquitoes. (Beauty Smith's eyes lighted up at this, and he licked his thin lips with an eager tongue). No, White Fang was not for sale at any price.

But Beauty Smith knew the ways of Indians. He visited Grey Beaver's camp often, and hidden under his coat was always a black bottle or so. One of the potencies of whisky is the breeding of thirst. Grey Beaver got the thirst. His fevered membranes and burnt stomach began to clamour for more and more of the scorching fluid; while his brain, thrust all awry by the unwonted stimulant, permitted him to go any length to obtain it. The money he had received for his furs and mittens and moccasins began to go. It went faster and faster, and the shorter his money–sack grew, the shorter grew his temper.

In the end his money and goods and temper were all gone. Nothing remained to him but his thirst, a prodigious possession in itself that grew more prodigious with every sober breath he drew. Then it was that Beauty Smith had talk with him again about the sale of White Fang; but this time the price offered was in bottles, not dollars, and Grey Beaver's ears were more eager to hear.

"You ketch um dog you take um all right," was his last word.

The bottles were delivered, but after two days. "You ketch um dog," were Beauty Smith's words to Grey Beaver.

White Fang slunk into camp one evening and dropped down with a sigh of content. The dreaded white god was not there. For days his manifestations of desire to lay hands on him had been growing more insistent, and during that time White Fang had been compelled to avoid the camp. He did not know what evil was threatened by those insistent hands. He knew only that they did threaten evil of some sort, and that it was best for him to keep out of their reach.

But scarcely had he lain down when Grey Beaver staggered over to him and tied a leather thong around his neck. He sat down beside White Fang, holding the end of the thong in his hand. In the other hand he held a bottle, which, from time to time, was inverted above his head to the accompaniment of gurgling noises.

Beauty Smith slipped the chain from his neck and stepped back.

For once White Fang did not make an immediate attack. He stood still, ears pricked forward, alert and curious, surveying the strange animal that faced him. He had never seen such a dog before. Tim Keenan shoved the bull–dog forward with a muttered "Go to it." The animal waddled toward the centre of the circle, short and squat and ungainly. He came to a stop and blinked across at White Fang.

There were cries from the crowd of, "Go to him, Cherokee! Sick 'm, Cherokee! Eat 'm up!"

But Cherokee did not seem anxious to fight. He turned his head and blinked at the men who shouted, at the same time wagging his stump of a tail good–naturedly. He was not afraid, but merely lazy. Besides, it did not seem to him that it was intended he should fight with the dog he saw before him. He was not used to fighting with that kind of dog, and he was waiting for them to bring on the real dog.

Tim Keenan stepped in and bent over Cherokee, fondling him on both sides of the shoulders with hands that rubbed against the grain of the hair and that made slight, pushing–forward movements. These were so many suggestions. Also, their effect was irritating, for Cherokee began to growl, very softly, deep down in his throat. There was a correspondence in rhythm between the growls and the movements of the man's hands. The growl rose in the throat with the culmination of each forward–pushing movement, and ebbed down to start up afresh with the beginning of the next movement. The end of each movement was the accent of the rhythm, the movement ending abruptly and the growling rising with a jerk.