Sam Lawson's Oldtown Fireside Stories: With IllustrationsStowe, Harriet Beecher
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Sam Lawson's Oldtown Fireside Stories: With Illustrations
Stowe, Harriet Beecher
New England -- Social life and customs -- 19th century -- Fiction; Short stories, American; Storytelling -- Fiction
Sam Lawson preferred it on many accounts. It was quiet and retired, that
is to say, at such distance from his own house, that he could not
hear if Hepsy called ever so loudly, and farther off than it would be
convenient for that industrious and painstaking woman to follow him.
Then there was the soft fragrant cushion of hay, on which his length of
limb could be easily bestowed.
Our barn had an upper loft with a swinging outer door that commanded
a view of the old mill, the waterfall, and the distant windings of the
river, with its grassy green banks, its graceful elm draperies, and its
white flocks of water-lilies; and then on this Saturday afternoon we had
Sam all to ourselves. It was a drowsy, dreamy October day, when the hens
were lazily “craw, crawing,” in a soft, conversational undertone with
each other, as they scratched and picked the hay-seed under the barn
windows. Below in the barn black Caesar sat quietly hatchelling flax,
sometimes gurgling and giggling to himself with an overflow of that
interior jollity with which he seemed to be always full. The African in
New England was a curious contrast to everybody around him in the joy
and satisfaction that he seemed to feel in the mere fact of being alive.
Every white person was glad or sorry for some appreciable cause in the
past, present, or future, which was capable of being definitely stated;
but black Caesar was in an eternal giggle and frizzle and simmer of
enjoyment for which he could give no earthly reason: he was an “embodied
joy,” like Shelley's skylark.
“Jest hear him,” said Sam Lawson, looking pensively over the hay-mow,
and strewing hayseed down on his wool. “How that 'are critter seems to
tickle and laugh all the while 'bout nothin'. Lordy massy! he don't seem
never to consider that 'this life's a dream, an empty show.'”
“Look here, Sam,” we broke in, anxious to cut short a threatened stream
of morality, “you promised to tell us about Capt. Kidd, and how you dug
for his money.”
“Did I, now? Wal, boys, that 'are history o' Kidd's is a warnin' to
fellers. Why, Kidd had pious parents and Bible and sanctuary privileges
when he was a boy, and yet come to be hanged. It's all in this 'ere
song I'm a goin' to sing ye. Lordy massy! I wish I had my bass-viol
now.--Caesar,” he said, calling down from his perch, “can't you strike
the pitch o' 'Cap'n Kidd,' on your fiddle?”
Caesar's fiddle was never far from him. It was, in fact, tucked away in
a nice little nook just over the manger; and he often caught an interval
from his work to scrape a dancing-tune on it, keeping time with his
heels, to our great delight.
A most wailing minor-keyed tune was doled forth, which seemed quite
refreshing to Sam's pathetic vein, as he sang in his most lugubrious
tones,--
“'My name was Robert Kidd
As I sailed, as I sailed,
My name was Robert Kidd;
God's laws I did forbid,
And so wickedly I did,
Public-domain text, read in full here on John Shaqi.
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