The River's Children: An Idyl of the MississippiStuart, Ruth McEnery
General
The River's Children: An Idyl of the Mississippi
Stuart, Ruth McEnery
African Americans -- Fiction; Conduct of life -- Fiction; Mississippi River -- Fiction; Poverty -- Fiction
A boat or two had preceded them, and another followed presently, but it
takes money to own a skiff, or even to build one of the driftwood, which
is free to the captor. And so most of the couples who sought the river
strolled for a short space, finding secluded seats on the rough-hewn
benches between the acacia-trees or on the drift-dogs which lined the
water's edge. It was too warm for continued walking.
From some of the smaller vessels, easily recognizable as of the same
family as the fruit-luggers which crowd around "Picayune Tier" at the
French market, there issued sweet songs in the soft Italian tongue,
often accompanied by the accordeon.
Young Love sang on the water in half a dozen tongues, as he sings there
yet at every summer eventide.
The skiffs for the most part kept fairly close to the shore, skirting
the strong current of the channel, avoiding, too, the large steamboats,
whose passage ever jeopardized the small craft which crossed in their
wake.
Indeed, the passage of one of these great "packets" generally cleared
the midstream, although a few venturesome oarsmen would often dare fate
in riding the billows in her wake. These great steamboats were known
among the humble river folk more for their wave-making power than for
the proud features which distinguished them in their personal relations.
There were those, for instance, who would watch for a certain great boat
called the _Capitol_, just for the bravado of essaying the bubbling
storm which followed her keel, while some who, enjoying their fun with
less snap of danger, preferred to have their skiffs dance behind the
_Laurel Hill_. Or perhaps it was the other way: it may have been the
_Laurel Hill_, of the sphere-topped smoke-stacks, which made the more
sensational passage.
It all happened a long time ago, although only about thirteen years had
passed since the events last related, and both boats are dead. At least
they are out of the world of action, and let us hope they have gone to
their rest. An old hulk stranded ashore and awaiting final dissolution
is ever a pathetic sight, suggesting a patient paralytic in his chair,
grimly biding fate--the waters of eternity at his feet.
At intervals, this evening, fishermen alongshore--old negroes
mostly--pottered among the rafts, setting their lines, and if the
oarsmen listened keenly, they might almost surely have caught from these
gentle toilers short snatches of low-pitched song, hymns mostly, of
content or rejoicing.
There was no sense of the fitness of the words when an ancient fisher
sang "Sweet fields beyan' de swelling flood," or of humor in "How firm
a foundation," chanted by one standing boot-deep in suspicious sands.
The favorite hymn of several of the colored fishermen, however, seemed
to be "Cometh our fount of every blessin'," frankly so pronounced with
reverent piety.
Public-domain text, read in full here on John Shaqi.
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