The Atlantic Monthly, Volume 15, No. 90, April, 1865: A Magazine of Literature, Art, and PoliticsVarious
General
The Atlantic Monthly, Volume 15, No. 90, April, 1865: A Magazine of Literature, Art, and Politics
Various
American periodicals
Sometimes, however, the boatmen, like the necromancer's student who set
the broomstick to bringing water, but could not remember the spell to
stop it, find that it is unsafe to set great agencies at work without
the power of controlling them. Last May, for instance, occurred a
pond-fresh, long to be remembered on Oil Creek, when the stream rose
with such furious, rapidity that the loaded boats became unmanageable,
crowding and dashing together, staving in the sides of the great
oil-in-bulk boats, and grinding the floating barrels to splinters. Not
even the thousands of gallons of oil thus shed upon the stormy waters
were sufficient to assuage either their wrath or that of the boatmen,
who, as their respective craft piled one upon another, sprang to "repel
boarders" with oaths, fists, boat-hooks, or whatever other weapons
Nature or chance had provided them. This scene of anarchy lasted several
days, and some cold-blooded photographer amused himself, "after" Nero,
in taking views of it from different points. Copies of these pictures,
commemorating such destruction of property, temper, and propriety as Oil
Creek never witnessed before, are hung about the "office" of the
Refinery, with which comfortable apartment the visitors finished their
tour.
Here they were offered the compliments of the season and locality in a
collation of chestnuts; and here also they were invited to inspect a
stereoscope, which, with its accompanying views, is considered on Tarr
Farm as admirable a wonder as was, doubtless, Columbus's watch by the
aborigines of the New World. Dearer to Miselle than chestnuts or
stereoscope, however, were the information and the anecdotes placed at
her service by the gentlemen of the establishment, albeit involuntarily;
and with her friends she shortly after departed from Barrows and
Hazleton's Refinery, filled with content and gratitude.
The noticeable point in the society of Tarr Farm, or rather in the human
scenery, for society there is none, is the absurd mingling of
inharmonious material. As in the toy called Prince Rupert's Drop, a
multitude of unassimilated particles are bound together by a master
necessity. Remove the necessity, and in the flash of an eye the
particles scatter never to reunite.
In her two days' tour of Tarr Farm, Miselle talked with gentlemen of
birth and education, gentlemen whose manners contrasted oddly enough
with their coarse clothes and knee-high boots; also with intermittent
gentlemen, who felt Tarr Farm to be no fit theatre for the exercise of
their acquired politeness; also with men like Tommy and Jimmy, whose
claims lay not so much in aristocratic connection and gentle breeding as
in a thorough appreciation of the matter in hand; also with a less
pleasing variety of mankind, men who, originally ignorant and debased,
have through lucky speculations acquired immense wealth without the
habits of body and mind fitly accompanying it.
Public-domain text, read in full here on John Shaqi.
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