“Come in; you got to come in, Ma’me Valtour,” stubbornly insisted Seraphine, leading the way into the cabin. “I sen’ ’er to de house yistiddy wid some Creole aiggs,” she went on in her rasping voice, “like I all time do, because you all say you can’t eat dem sto’ aiggs no mo’. Yere de basket w’at I sen’ ’em in,” reaching for an Indian basket which hung against the wall—and which was partly filled with cotton seed.
“Oh, never mind,” interrupted Madame Valtour, now thoroughly distressed at witnessing the woman’s agitation.
“Ah, bien non.1 I got to show you, Agapie en’t no mo’ thief ’an yo’ own child’en is.” She led the way into the adjoining room of the hut.
“Yere all her things w’at she ’muse herse’f wid,” continued Seraphine, pointing to a soapbox which stood on the floor just beneath the open window. The box was filled with an indescribable assortment of odds and ends, mostly doll-rags. A catechism and a blue-backed speller poked dog-eared corners from out of the confusion; for the Valtour children were making heroic and patient efforts toward Agapie’s training.
Seraphine cast herself upon her knees before the box and dived her thin brown hands among its contents. “I wan’ show you; I goin’ show you,” she kept repeating excitedly. Madame Valtour was standing beside her.
Suddenly the woman drew forth from among the rags, the Dresden lady, as dapper, sound, and smiling as ever. Seraphine’s hand shook so violently that she was in danger of letting the image fall to the floor. Madame Valtour reached out and took it very quietly from her. Then Seraphine rose tremblingly to her feet and broke into a sob that was pitiful to hear.
Agapie was approaching the cabin. She was a chubby girl of twelve. She walked with bare, callous feet over the rough ground and bare-headed under the hot sun. Her thick, short, black hair covered her head like a mane. She had been dancing along the path, but slackened her pace upon catching sight of the two women who had returned to the gallery. But when she perceived that her mother was crying she darted impetuously forward. In an instant she had her arms around her mother’s neck, clinging so tenaciously in her youthful strength as to make the frail woman totter.
Agapie had seen the Dresden figure in Madame Valtour’s possession and at once guessed the whole accusation.
“It en’t so! I tell you, maman, it en’t so! I neva touch’ it. Stop cryin’; stop cryin’!” and she began to cry most piteously herself.
“But Agapie, we fine it in yo’ box,” moaned Seraphine through her sobs.
“Then somebody put it there. Can’t you see somebody put it there? ’Ten’t so, I tell you.”
The scene was extremely painful to Madame Valtour. Whatever she might tell these two later, for the time she felt herself powerless to say anything befitting, and she walked away. But she turned to remark, with a hardness of expression and intention which she seldom displayed: “No one will know of this through me. But, Agapie, you must not come into my house again; on account of the children; I could not allow it.”
As she walked away she could hear Agapie comforting her mother with renewed protestations of innocence.
Pa-Jeff began to fail visibly that year. No wonder, considering his great age, which he computed to be about one hundred. It was, in fact, some ten years less than that, but a good old age all the same. It was seldom that he got out into the field; and then, never to do any heavy work—only a little light hoeing. There were days when the “misery” doubled him up and nailed him down to his chair so that he could not set foot beyond the door of his cabin. He would sit there courting the sunshine and blinking, as he gazed across the fields with the patience of the savage.
The Bedauts seemed to know almost instinctively when Pa-Jeff was sick. Agapie would shade her eyes and look searchingly towards the old man’s cabin.
“I don’ see Pa-Jeff this mo’nin’,” or “Pa-Jeff en’t open his winda,” or “I didn’ see no smoke yet yonda to Pa-Jeff’s.” And in a little while the girl would be over there with a pail of soup or coffee, or whatever there was at hand which she thought the old negro might fancy. She had lost all the color out of her cheeks and was pining like a sick bird.
She often sat on the steps of the gallery and talked with the old man while she waited for him to finish his soup from her tin pail.
“I tell you, Pa-Jeff, its neva been no thief in the Bedaut family. My pa say he couldn’ hole up his head if he think I been a thief, me. An’ maman say it would make her sick in bed, she don’ know she could ever git up. Sosthène tell me the chil’en been cryin’ fo’ me up yonda. Li’le Lulu cry so hard M’sieur Valtour want sen’ afta me, an’ Ma’me Valtour say no.”
And with this, Agapie flung herself at length upon the gallery with her face buried in her arms, and began to cry so hysterically as seriously to alarm Pa-Jeff. It was well he had finished his soup, for he could not have eaten another mouthful.
“Hole up yo’ head, chile. God save us! W’at you kiarrin’ on dat away?” he exclaimed in great distress. “You gwine to take a fit? Hole up yo’ head.”
Agapie rose slowly to her feet, and drying her eyes upon the sleeve of her “josie,”2 reached out for the tin bucket. Pa-Jeff handed it to her, but without relinquishing his hold upon it.
“War hit you w’at tuck it?” he questioned in a whisper. “I isn’ gwine tell; you knows I isn’ gwine tell.” She only shook her head, attempting to draw the pail forcibly away from the old man.
“Le’ me go, Pa-Jeff. W’at you doin’! Gi’ me my bucket!”
He kept his old blinking eyes fastened for a while questioningly upon her disturbed and tear-stained face. Then he let her go and she turned and ran swiftly away towards her home.
He sat very still watching her disappear; only his furrowed old face twitched convulsively, moved by an unaccustomed train of reasoning that was at work in him.
“She w’ite, I is black,” he muttered calculatingly. “She young, I is ole; sho I is ole. She good to Pa-Jeff like I her own kin an’ color.” This line of thought seemed to possess him to the exclusion of every other. Late in the night he was still muttering.
“Sho I is ole. She good to Pa-Jeff, yas.”
A few days later, when Pa-Jeff happened to be feeling comparatively well, he presented himself at the house just as the family had assembled at their early dinner. Looking up suddenly, Monsieur Valtour was astonished to see him standing there in the room near the open door. He leaned upon his cane and his grizzled head was bowed upon his breast. There was general satisfaction expressed at seeing Pa-Jeff on his legs once more.
“Why, old man, I’m glad to see you out again,” exclaimed the planter, cordially, pouring a glass of wine, which he instructed Viny to hand to the old fellow. Pa-Jeff accepted the glass and set it solemnly down upon a small table near by.
“Marse Albert,” he said, “I is come heah to-day fo’ to make a statement of de rights an’ de wrongs w’at is done hang heavy on my soul dis heah long time. Arter you heahs me an’ de missus heahs me an’ de chillun an’ ev’body, den ef you says: ‘Pa-Jeff you kin tech yo’ lips to dat glass o’ wine,’ all well an’ right.’ ”
His manner was impressive and caused the family to exchange surprised and troubled glances. Foreseeing that his recital might be long, a chair was offered to him, but he declined it.
“One day,” he began, “w’en I ben hoein’ de madam’s flower bed close to de fence, Sosthène he ride up, he say: ‘Heah, Pa-Jeff, heah de mail.’ I takes de mail f’om ’im an’ I calls out to Viny w’at settin’ on de gallery: ‘Heah Marse Albert’s mail, gal; come git it.’
“But Viny she answer, pert-like—des like Viny: ‘You is got two laigs, Pa-Jeff, des well as me.’ I ain’t no han’ fo’ disputin’ wid gals, so I brace up an’ I come ’long to de house an’ goes on in dat settin’-room dah, naix’ to de dinin’-room. I lays dat mail down on Marse Albert’s table; den I looks roun’.
“Ev’thing do look putty, sho! De lace cu’tains was a-flappin’ an’ de flowers w
as a-smellin’ sweet, an’ de pictures a-settin’ back on de wall. I keep on lookin’ roun’. To reckly my eye hit fall on de li’le gal w’at al’ays sets on de een’ o’ de mantel-shelf. She do look mighty sassy dat day, wid ’er toe a-stickin’ out, des so; an’ holdin’ her skirt des dat away; an’ lookin’ at me wid her head twis’.
“I laff out. Viny mus’ heahed me. I say, ’g’long ’way f’om dah, gal.’ She keep on smilin’. I reaches out my han’. Den Satan an’ de good Sperrit, dey begins to wrastle in me. De Sperrit say: ‘You ole fool-nigga, you; mine w’at you about.’ Satan keep on shovin’ my han’—des so—keep on shovin’. Satan he mighty powerful dat day, an’ he win de fight. I kiar dat li’le trick home in my pocket.”
Pa-Jeff lowered his head for a moment in bitter confusion. His hearers were moved with distressful astonishment. They would have had him stop the recital right there, but Pa-Jeff resumed, with an effort:
“Come dat night I heah tell how dat li’le trick, wo’th heap money; how madam, she cryin’ ’cause her li’le blessed lamb was use’ to play wid dat, an’ kiar-on ov’ it. Den I git scared. I say, ‘w’at I gwine do?’ An’ up jump Satan an’ de Sperrit a-wrastlin’ again.
“De Sperrit say: ‘Kiar hit back whar it come f’om, Pa-Jeff.’ Satan ’low: ‘Fling it in de bayeh, you ole fool.’ De Sperrit say: ‘You won’t fling dat in de bayeh, whar de madam kain’t neva sot eyes on hit no mo’?’ Den Satan he kine give in; he ’low he plumb sick o’ disputin’ so long; tell me go hide it some ’eres what day nachelly gwine fine it. Satan he win dat fight.
“Des w’en de day g’ine break, I creeps out an’ goes ’long de fiel’ road. I pass by Ma’me Bedaut’s house. I riclic how dey says li’le Bedaut gal ben in de sittin’-room, too, day befo’. De winda war open. Ev’body sleepin’. I tres’ in my head, des like a dog w’at shame hisse’f. I sees dat box o’ rags befo’ my eyes; an’ I drops dat li’le im-p’dence ’mongst dem rags.
“Mebby yo’ all t’ink Satan an’ de Sperrit lef’ me ’lone, arter dat?” continued Pa-Jeff, straightening himself from the relaxed position in which his members seemed to have settled.
“No, suh; dey ben desputin’ straight ’long. Las’ night dey come nigh onto en’in’ me up. De Sperrit say: ‘Come ’long, I gittin’ tired dis heah, you g’long up yonda an’ tell de truf an’ shame de devil.’ Satan ’low: ‘Stay whar you is; you heah me!’ Dey clutches me. Dey twis’es an’ twines me. Dey dashes me down an’ jerks me up. But de Sperrit he win dat fight in de en’, an’ heah I is, mist’ess, master, chillun’; heah I is.”
Years later Pa-Jeff was still telling the story of his temptation and fall. The negroes especially seemed never to tire of hearing him relate it. He enlarged greatly upon the theme as he went, adding new and dramatic features which gave fresh interest to its every telling.
Agapie grew up to deserve the confidence and favors of the family. She redoubled her acts of kindness toward Pa-Jeff; but somehow she could not look into his face again.
Yet she need not have feared. Long before the end came, poor old Pa-Jeff, confused, bewildered, believed the story himself as firmly as those who had heard him tell it over and over for so many years.
Nég Créol
AT the remote period of his birth he had been named César François Xavier, but no one ever thought of calling him anything but Chicot,1 or Nég, or Maringouin.2 Down at the French market, where he worked among the fishmongers, they called him Chicot, when they were not calling him names that are written less freely than they are spoken. But one felt privileged to call him almost anything, he was so black, lean, lame, and shriveled. He wore a head-kerchief, and whatever other rags the fishermen and their wives chose to bestow upon him. Throughout one whole winter he wore a woman’s discarded jacket with puffed sleeves.
Among some startling beliefs entertained by Chicot was one that “Michié St. Pierre et Michié St. Paul” had created him. Of “Michié bon Dieu” he held his own private opinion, and not a too flattering one at that. This fantastic notion concerning the origin of his being he owed to the early teaching of his young master, a lax believer, and a great farceur3 in his day. Chicot had once been thrashed by a robust young Irish priest for expressing his religious views, and at another time knifed by a Sicilian. So he had come to hold his peace upon that subject.
Upon another theme he talked freely and harped continuously. For years he had tried to convince his associates that his master had left a progeny, rich, cultured, powerful, and numerous beyond belief. This prosperous race of beings inhabited the most imposing mansions in the city of New Orleans. Men of note and position, whose names were familiar to the public, he swore were grandchildren, great-grandchildren, or, less frequently, distant relatives of his master, long deceased. Ladies who came to the market in carriages, or whose elegance of attire attracted the attention and admiration of the fishwomen, were all des ’tites cousines4 to his former master, Jean Boisduré.5 He never looked for recognition from any of these superior beings, but delighted to discourse by the hour upon their dignity and pride of birth and wealth.
Chicot always carried an old gunny-sack, and into this went his earnings. He cleaned stalls at the market, scaled fish, and did many odd offices for the itinerant merchants, who usually paid in trade for his service. Occasionally he saw the color of silver and got his clutch upon a coin, but he accepted anything, and seldom made terms. He was glad to get a handkerchief from the Hebrew, and grateful if the Choctaws would trade him a bottle of filé for it. The butcher flung him a soup bone, and the fishmonger a few crabs or a paper bag of shrimps. It was the big mulatresse, vendeuse de café,6 who cared for his inner man.
Once Chicot was accused by a shoe-vender of attempting to steal a pair of ladies’ shoes. He declared he was only examining them. The clamor raised in the market was terrific. Young Dagoes assembled and squealed like rats; a couple of Gascon butchers bellowed like bulls. Matteo’s wife shook her fist in the accuser’s face and called him incomprehensible names. The Choctaw women, where they squatted, turned their slow eyes in the direction of the fray, taking no further notice; while a policeman jerked Chicot around by the puffed sleeve and brandished a club. It was a narrow escape.
Nobody knew where Chicot lived. A man—even a nég créol—who lives among the reeds and willows of Bayou St. John, in a deserted chicken-coop constructed chiefly of tarred paper, is not going to boast of his habitation or to invite attention to his domestic appointments. When, after market hours, he vanished in the direction of St. Philip street, limping, seemingly bent under the weight of his gunny-bag, it was like the disappearance from the stage of some petty actor whom the audience does not follow in imagination beyond the wings, or think of till his return in another scene.
There was one to whom Chicot’s coming or going meant more than this. In la maison grise7 they called her La Chouette,8 for no earthly reason unless that she perched high under the roof of the old rookery and scolded in shrill sudden outbursts. Forty or fifty years before, when for a little while she acted minor parts with a company of French players (an escapade that had brought her grandmother to the grave), she was known as Mademoiselle de Montallaine. Seventy-five years before she had been christened Aglaé Boisduré.
No matter at what hour the old negro appeared at her threshold, Mamzelle Aglaé always kept him waiting till she finished her prayers. She opened the door for him and silently motioned him to a seat, returning to prostrate herself upon her knees before a crucifix, and a shell filled with holy water that stood on a small table; it represented in her imagination an altar. Chicot knew that she did it to aggravate him; he was convinced that she timed her devotions to begin when she heard his footsteps on the stairs. He would sit with sullen eyes contemplating her long, spare, poorly clad figure as she knelt and read from her book or finished her prayers. Bitter was the religious warfare that had raged for years between them, and Mamzelle Aglaé had grown, on her side, as intolerant as Chicot. She had come to hold St. Peter and St. Pa
ul in such utter detestation that she had cut their pictures out of her prayer-book.
Then Mamzelle Aglaé pretended not to care what Chicot had in his bag. He drew forth a small hunk of beef and laid it in her basket that stood on the bare floor. She looked from the corner of her eye, and went on dusting the table. He brought out a handful of potatoes, some pieces of sliced fish, a few herbs, a yard of calico, and a small pat of butter wrapped in lettuce leaves. He was proud of the butter, and wanted her to notice it. He held it out and asked her for something to put it on. She handed him a saucer, and looked indifferent and resigned, with lifted eyebrows.
“Pas d’ sucre, Nég?”9
Chicot shook his head and scratched it, and looked like a black picture of distress and mortification. No sugar! But tomorrow he would get a pinch here and a pinch there, and would bring as much as a cupful.
Mamzelle Aglaé then sat down, and talked to Chicot uninterruptedly and confidentially. She complained bitterly, and it was all about a pain that lodged in her leg; that crept and acted like a live, stinging serpent, twining about her waist and up her spine, and coiling round the shoulder-blade. And then les rheumatismes in her fingers! He could see for himself how they were knotted. She could not bend them; she could hold nothing in her hands, and had let a saucer fall that morning and broken it in pieces. And if she were to tell him that she had slept a wink through the night, she would be a liar, deserving of perdition. She had sat at the window la nuit blanche,10 hearing the hours strike and the market-wagons rumble. Chicot nodded, and kept up a running fire of sympathetic comment and suggestive remedies for rheumatism and insomnia: herbs, or tisanes,11 or grigris,12 or all three. As if he knew! There was Purgatory Mary, a perambulating soul whose office in life was to pray for the shades in purgatory,—she had brought Mamzelle Aglaé a bottle of eau de Lourdes,13 but so little of it! She might have kept her water of Lourdes, for all the good it did,—a drop! Not so much as would cure a fly or a mosquito! Mamzelle Aglaé was going to show Purgatory Mary the door when she came again, not only because of her avarice with the Lourdes water, but, beside that, she brought in on her feet dirt that could only be removed with a shovel after she left.