Family Honor
Looking down on a clear day from a bald on Dug Down Mountain you can see the valley far below. The bald is sometimes called the sods—where the trees can’t grow because of high winds. This particular spot is called Foley Sods after the Foleys who have lived here in the Dug Down Mountains for generations. Looking closer from the high, green bald you can see far below in the edge of a dilapidated orchard a lorn grave. Overrun with ivy and thorns it is enclosed with a wire fence, sagging and rusty and held together here and there with crooked sticks and broken staves.
Ben Foley’s grave it is, anyone whom you happen to meet along the way will tell you, but your informant will say no more. If you have the time and inclination to follow the footpath on around toward a cliff to the right you may come upon old Jorde Foley sitting near on a log as if keeping watch over the place. The old fellow will appraise you from head to foot and either he will be glum, like the person you have passed on the way, or he will invite you to rest a while. Then presently he falls into easy conversation and before you are aware you have learned much about Ben and Jorde Foley too.
It wasn’t that Jorde had any objection to what Ben, his son, was doing, but it was the things that happened when Ben brought home his bride from Cartersville that caused Jorde to speak his mind. This day he went back to the beginning of things.
“I’ve been makin’ all my life right here in these Dug Down Mountains alongside this clift,” he said. “It’s my land, my crop. And I’ve a right to do with my corn whatever I’m a mind to. And Cynthie, my wife, many’s the timeshe taken turns with me breakin’ up the mash, packin’ the wood to keep the fire under the still. We’ve set by waitin’ for the run off. And Ben, our boy, he learnt from watchin’ us how to make good whiskey, from the time he was a little codger. Sometimes Cynthie would keep an eye out for the law. But we hated that part of it worser’n pizen. We were in our rights and had no call to be treated like thieves in the night. Pa made whiskey right here in these Dug Down Mountains same as his’n before him, out of corn he raised on his own place and in them days there wasn’t ever the spyin’ eyes of the law snoopin’ around.” Jorde rolled his walking staff between his rough hands and looked away. “Sometimes I’d change places with Cynthie whilst she tended the fire. We made good whiskey,” he said neither boastfully nor modestly. “We sold it for an honest price. That’s the way we learnt Ben to do. But, hi crackies, what takes my hide and taller is when a son o’ mine turns out yaller. I never raised my boy for no chicanery.” Old Jorde’s voice raised in indignation. However, when he spoke again there was a note of tolerance even pity in his tone.
“Ben would never ’a’ done it only for that Jezebel he married down to Cartersville and brought home here to the mountains. Effie, like Delilah that made mock of her man Samson, was the cause of it all. Ben just nat’erly couldn’t make whiskey fast enough to give that woman all her cravin’s and now you see where it got my poor boy. A man’s a right,” said the old fellow in deadly earnest, “to marry a girl he’s growed up with—stead of tryin’ to get above his raisin’. See where it got my poor boy,” he repeated. The troubled eyes sought the neglected grave in the scrubby orchard far below.
There was no marker, not even a rough stone from themountain side at head or foot like on the other Foley graves in the Foley burying ground on the brow of the hill. Only the sagging fence enclosed Ben’s resting place. “It was hard to do,” old Jorde said grimly, “but it had to be so’s no other Foley will follow Ben’s course.”
With that he slowly arose and led the way to a pile of soot-covered stones.
“Now close here was where the thumpin’ keg stood,” he began to indicate positions, “and yonder the still.”
There was nothing but charred remnants of staves and rusty hoops left of the barrel through which the copper worm had run, while the copper still itself was reduced to a battered heap. The worm and the thumping keg and all the essentials for making whiskey leaped into a living scene, however, when Jorde Foley got to telling of the days when he and Cynthie and young Ben, peaceable and contented, earned a meager living at the craft.
“Set your still right about here,” Jorde hovered over the remnants of the stone furnace, “and you break your mash once in so often. A man’s got to know when it is working right. The weather has a heap to do with it fermenting. Sometimes it takes longer than other times. No, you don’t stir it with a stick but a long wooden fork. I’ve whittled many a one.” He retrieved from the pile of stone what was left of the stirring fork. “Have it long so you can retch far all around the barrel,” he said, measuring the fork against his own height. With unconcealed pride he explained the various steps of making corn whiskey in his own primitive way. He told how the thumping keg in which it was aged was first carefully charred inside to add a tempting flavor, and how the barrel in which the cornmeal and malt were placed was made of clean staves of oak or chestnut, or whatever wood was at hand. Thewood was cut green and when the mash began to work the liquid caused the staves to swell and thus make the barrel leak-proof.
Never once in his explanation did Jorde Foley say moonshine, or shine, or mountain dew.
“Whiskey, pure corn whiskey,” he repeated, “when it is treated right won’t harm no one. And when a body sees the first singlin’ come treaklin’ out the worm, cooled by the cold water that this worm is quiled in,” he indicated the location of the barrel, “somehow there’s a heap of satisfaction in it. Seeing that clear whiskey, clear as a mountain stream come treaklin’ into the tin bucket or jug that is settin’ there to ketch it, it makes a man plum proud over his labors.”
Jorde looked inward upon his thoughts. “Many a time me and Cynthie would take a full bucket to a neighbor’s when there was a frolic, set it in the middle of the table with a gourd dipper in it, and let everyone help hisself to a drink. Why, there was no harm in whiskey in my young day. And us people up here didn’t know or need no other medicine.”
In the bat of an eye Jorde Foley explained how pure corn whiskey had cured cases of croup, saved mothers in childbirth, cured children of spasms and worms, and saved the life of many a man bitten by a copperhead or suffering from sunstroke. “Once I saw Brock Pennington stob Bill Tanner in the calf of the leg with a pitchfork. Bill he bled like a stuck hog and we grabbed up a jug of whiskey and poured it on his leg. Stopped the blood! No how,” Jorde was off on another defense, “land up here and in lots of places in these mountains is not fitten to farm so we have allus made whiskey of it after exceptin’ out enough for our bread. Good, pure whiskey that never harmed no manthat treated it right, that’s what we made. In Pa’s day he sold it for fifty cents a gallon. Us Foleys in my day sold it for a dollar a gallon and let the other fellow pack it off and sell it for what he could get. Why, I had knowin’ of a man on Chester Creek in Fentress County over in Tennessee that sold it for three dollars a gallon. But that is a plum outrage!” Jorde spat vehemently halfway to the cliff.
“After Pa died, me and Mose Keeton got to makin’ together. We halved the corn and halved the work and halved the cash money and never no words ever passed betwixt us. By the time Mose died my boy Ben taken his place.”
Only once did a smile light the grim face. “One day Cynthie and me was busy here and Ben’s pet pig followed him up here when he brought us a snack to eat. The pig snooted around and found the place where we had dumped the leavin’s of the mash after we had took off the brine. Well, sir, that pig just nat’erly gorged itself and directly it was tipsy as fiddlesticks. I never saw such antic was out of a critter in my life. It reeled to and fro and squealed and grunted and went round and round tryin’ to ketch its own tail. Finally it rolled down the hill. Ben packed it back up again and it reeled around, its feet tangled and it rolled down again. Kept that up till it got sober. Its eyes rolled back in its head, it sunk down in a grassy spot over yonder and slept till dark. It follered at Ben’s heels meek as a lamb when we went down the hill that night. That pig was too sick to eat or even sniff a nubbin of corn for two whole days, just laid and groaned. ‘Now, Ben,’ says Cynthie to our boy, ‘you see what comes of gettin’ tipsy.’ And Ben Foley learnt a lesson off the pig and never did take a dram too much.”
Again Jorde’s eyes sought the neglected grave far off.He looped back to the story of his son. “Everything was peaceable here, though we did miss Cynthie powerful after she died. But me and Ben made on the best we could. We had a living from our whiskey. Then come Effie! That woman nat’erly tore up the whole place. She kept gougin’ Ben for more cash money.” Jorde pointed a condemning finger toward a ravine. “There’s a half dozen washtubs rustin’ away under there.”
A part of a zinc tub protruded from the brush heap. “One day,” Jorde continued, “unbeknown to Ben’s wife, Effie, I snuck off up here away from that Jezebel though she had talked no end about me being too old to climb the mountain. ‘You’ll get a stroke, Jorde,’ she’d warn me. ‘You best sit here in the cool, or feed the chickens or the hogs.’ Effie was ever finding something for me to do if I offered a word about comin’ up here to see how Ben was getting on. That made me curious. So I snuck off from the house and come up here one day.” Jorde’s eyes turned toward the ground. “When I come up on Ben I couldn’t believe my own eyes. My boy had a fire goin’ not under just one but a half dozen tubs! What’s left of them are over yonder.” He jerked a thumb toward the brush covered ravine. “My boy Ben was stirring around not with the wood fork like he had been learnt, but with a shovel!” Jorde lifted scandalized eyes. “A rusty shovel, at that! He was talking in a big way to his helper—a strange man to me. I come to find out he was a friend of Effie’s from Cartersville.”
Jorde pondered a while. “Come to find out, to make a long story short, Ben was cheatin’ them that bought his whiskey, tellin’ them it was a year old when he knew in reason he’d just run it off maybe the night before. Ben Foley was sellin’ pizen!” Old Jorde Foley’s voice trembled.“That’s all it was that he was makin’. Pizen that he forced to ferment with stuff that Effie’s friend, who used to work in the coal mines, brought here. And Ben sellin’ that pizen that burnt the stummick and the brains out of men that drunk it. Hi gad!”—old Foley spat vehemently—“I never raised my son to be no such thief! It was that Jezebel Effie that led my boy to the sin of thievin’. She wanted more cash money than he could earn honest with makin’ good whiskey.”
It was Ben’s fear of prison, old Jorde explained bluntly, that caused him to run from the law, and running he had stumbled and thereby stopped a bullet.
“What the law didn’t bust to pieces of them tubs and shovels and such, I did,” Jorde added with a note of satisfaction. For a moment he lapsed into silence, then added gravely, “Ben just nat’erly disgraced us Foleys.” The father hung his head in shame. “Why, Cynthie would turn over in her grave if she knew of him thievin’ and runnin’—runnin’ from the law! It’s such as that Jezebel with her carryin’s on, temptin’ men to thievin’ that’s put an end to makin’—makin’ good whiskey in these Dug Down Mountains here in Georgia. Put an end to sellin’ good pure whiskey for an honest price like me and mine used to make.”
3. Products of the Soil
Timber
The individualism of the mountaineer has not made of him a scientific inventor, but this marked trait of character has developed his self-reliance and resourcefulness. He may not know, or care to know, in figures the degree of the angle at which the mountain slopes. Probably he has never heard of the clinometer by which geological surveyors arrive at such information. Yet the untrained mountain man seeing a stream gushing down a steep escarpment knows how to divert it to his own best use.
Sometimes he set his tub mill, or the wheel, at the most advantageous point to grind his corn into meal. If, however, his house happened to be near no stream he had a simpler method for grinding his corn, a way his forbears learned from the Indian, or heard about through his Scotch ancestors. He rounded two stones, about the size of the average dishpan, with great patience. Bored a hole in the center of the top one, placed the two in a hollowed log and patiently, laboriously poured corn, a few grains at a time, into the opening. With the other hand he turned the top stone by means of a limber branch attached to a rafter overhead, the other end of which was thrust into a small hole near the rim of the top stone. In this way he kept the top stone moving, slowly, steadily.The Scotch called this simple handmill a quern. It was a laborious way of grinding meal.
It has amazed men of the U. S. Geological Survey to find that the corn patch of the mountaineer often slants at an angle of fifty degrees so that it is impossible to plow. The mountaineer cultivates such a patch entirely with a hoe. When the mountain side, crop and all, slides down to the base he bears the ill luck with patience and fortitude and tries to find a remedy. He hauls rocks to brace the earth and plants another crop. He had no time to sit and bemoan his fate. Through such trials, and because neighbors were so far removed, his self-reliance and resourcefulness were of necessity developed. The mountain man learned early to face alone the hazards of life in the forest; first of all was defense of his home against wild beasts and the Indian. He knew the danger to life and limb from fallen trees, treacherous quicksand, swollen creeks, the peril of slipping mountain sides after heavy rains. Of necessity he relied upon himself; he could not wait for a neighbor to help pull the ox out of the ditch. He learned early to make his own crude farm implements at his own anvil. In short, he had to be jack-of-all-trades—blacksmith, tanner, barber, shoemaker, wagoner, and woodsman.
Men of the Blue Ridge did not clear their land after the manner of the German farmer in Pennsylvania, who uprooted his trees. Instead, it was done by belting the tree. He notched a six-inch band around the trunk, removed the bark which prevented the sap from going up and thus killed the tree from lack of nourishment. A field of such trees he called a deadening. The roots were left to rot and enrich the soil but the hillsides were so steep that the fertility from wood soil soon washed away and anotherdeadening had to be made before another crop could be planted. Though crops were scant, the forest itself was ample and sometimes brought him rich returns if he managed right.
A timber cruiser would come into the community, prospecting for a lumber company, and examine the standing timber. After he reported back to the company, a lawyer was sent to sound out the landowners—to see if they were willing to sell their surface rights. When the legal matters were attended to, the lumber company sometimes bought as much as seventy thousand acres of forest. Woodsmen were brought in to work along with the mountain men. Portable sawmills were set up and busy hands—sawyers, choppers—set to work leveling the giant trees.
The owners calculated it would take twenty-five years to cull out all the large timber and by the time that job was finished there would be a second growth ready to cut. With this in view, hardwood and rich walnut were cut and used with utter extravagance and disregard for their great worth; full-sized logs of the finest grade were used for building barns, planks of black walnut found their way into porch floors, walnut posts were used freely for fencing by the mountaineer himself.
So profuse was the supply up until a quarter century ago that no thought was given to its possible disappearance through wasteful methods of lumbering, frequent forest fires, and the woodsman’s utter carelessness and disregard for the future.
A timber cruiser in Knott County, Kentucky, once came upon an old woman chopping firewood beside the door of her one-room cabin. Upon examination he found it to be a fine species of walnut. After talking with her he learned that she owned hundreds of acres of timber, muchof which was covered with walnut such as she was ruthlessly burning in the fireplace. He spent days going over the acreage and offered the old woman a fabulous price for the larger timber, at the same time assuring her, through written agreement, protection of all her rights. But the old creature, who lived alone, dismissed the timber cruiser with a wave of her bony hand. “Begone!” she chirped, “I don’t want to be scrouged by your crew comin’ in on my land choppin’ down trees and settin’ up them racket-makin’ contrapshuns under my very nose. No how such as that skeers off the birds in the forest.” Though the cruiser agreed that his company would even be willing to keep a distance of three miles in all directions from her little cabin, the old woman still refused, and when he tried again in honeyed tones to persuade her she up with the ax and chased him off the place.
The mountain man, however, often seized the opportunity to dispose of his timber and set to work with a vim to get it to the nearest market, though such was a mighty task. Having cut down the larger trees, he rolled the logs down the mountain side toward the watercourse. Usually the creeks were much too shallow to carry rafts of logs so he constructed a splash dam at a suitable point between the high banks of the stream. A splash dam consisted of two square cribs of logs filled with great stones. Against these two crude piers he built a dam in the middle of which he placed an enormous gate. He remembered how he had made rabbit traps when he was a boy. So now, on a bigger scale, he made a figure-four trap-trigger for his splash dam. On one side, the gate which he built in the middle, pushed against two projecting logs in the dam. A long slender pole like a telegraph pole held the gate in place. This is the trigger pole. Thus dammed, the watersoon formed a deep lake into which strong-armed men threw the logs.
Gate and trigger are in readiness. The mountaineer has only to wait for a tide, which is often not long in coming. Even overnight, even in a few short hours, a stream has been known to swell from sudden rains or snow, bringing the water with a rush down steep mountain sides and carrying with it the logs that were left strewn on the slopes or near the bank. Men work with feverish haste to roll the logs into the stream. The whole is swept into the dam, the trigger is released at the right moment and the rush of water with its freight of logs sweeps through the open gate with a mighty roar, carrying its cargo for miles on down to the river.
Zealous workers have been known to splash out in this fashion as many as thirteen thousand logs in one season.
Timber so floated down the Big Sandy River made at its mouth the largest round timber market in the world and brought untold fortunes to capitalists who ruthlessly cut down the virgin forests along its banks.
Here at the waterfront taverns a motley crowd of loggers and raftsmen, woodsmen and timbermen, were wont to gather for nights of revelry. The old taverns rang with as rollicking songs as ever enlivened a western bar in gold-rush days. Here too woodsman and logger rubbed shoulders betimes with Devil Anse Hatfield and Randall McCoy, for it was to the mouth of Big Sandy, the village of Catlettsburg, the county seat of Boyd, that the clansmen repaired to reinforce their ammunition for carrying on their bloody feud.
And here, in the spring of the year, the calliope could be heard far down the Ohio as the showboat steamed into view. Shouts of glee went up from the throats of youngstersalong the way as they rushed excitedly for the river-bank to watch the approach of the flag-decked boat. And when theCotton Blossomhad docked and deckhands had made her fast to her moorings with rope and chain, a gayly uniformed band—led by a drum major in high-plumed hat and gold-braided coat—with sounding horns and quickened drumbeat walked the gangplank, leaped nimbly to shore, and paraded the narrow winding village street.
Old and young wept over the death of Uncle Tom and hissed viciously the slave-whipping Legree. Woodsman or logger, who had imbibed too freely at the waterfront taverns, sometimes arose and cursed angrily the black-mustachioed villain. Whereupon the town marshal patted the disturber on the shoulder (the officer always had passes to the showboat for himself and family and friends), wheedled the giant mountaineer into silence, and left him dozing in his seat.
When the curtain fell on the last act, woodsmen and raftsmen and their newfound friends in the village returned to the riverfront tavern to make a night of it.
By sunup the crew would be on its way back up to the head of Big Sandy to make ready for another timber run.
Woman’s Work
The woman of the mountains has always been as resourceful in her way as the man. She made the sweetening for the family’s use from a sugar tree and as often used sorghum from cane for the same purposes, even pouring the thick molasses into coffee if they were fortunate enough to have coffee. She made her own dyes from barks and herbs. And though she may have had a dozen childrenof her own she was ready and eager to help a neighbor in time of sickness. Doctors were scarce, so she of necessity turned midwife to help another through childbirth. She shared the tasks of her husband in the field and home. She was as busy at butchering time as the menfolk. Once the hog was killed and cleaned, she helped chop the meat into sausage and helped to case it. She boiled the blood for pudding and looked to the seasoning, with sage and pepper, of the head cheese and liverwurst. Hers was the task of rendering the lard in the great iron kettle near the dooryard. And once the meat was cut into slabs she helped salt it down in the meat log. But only the man felt capable of properly preparing and smoking the ham for the family’s use. She frugally set aside the cracklins, after rendering the lard, for use in soap-making at the hopper.
At sorghum-making time mother and daughter worked as busily as father and son. The men cut the cane and fed it to the mill, while the womenfolk took turns tending the pans in which the syrup boiled, skimming off the greenish foam and scum that gathered on the top. They urged the young boys, who hung around on such occasions, to bring on more wood to keep the fire going under the pans. The owner of the portable sorghum mill sometimes took his pay for its use in sorghum, if there was no money to be had. He was paid too for the use of his team in hauling the mill to the cane patch of the neighbor who had engaged it, and he himself sometimes tarried to help set it up. A small boy was sometimes pressed into service to urge the patient mule on its monotonous course around and around pulling the beam that turned the mill.
Sorghum-making had its lighter side. The young folks especially found fun in seeing a guileless fellow step intothe skimming hole concealed by cane stalks. The sport was complete when the bewildered fellow struggled to free himself from the sticky mess. But the woman was quick to help him out of his plight by providing a change of raiment and soap and water and clean towels, “yonder in the kitchen-house.” She knew what to expect at sorghum-making time.
Each season of the year brought its communal activity: corn shucking in the fall, that was ever followed by a frolic. Bean stringing when the womenfolk pitched in to help each other out stringing beans with a long darning needle on long strands of thread. These were hung up to dry and supplied a tasty dish on cold winter days. There was also apple-butter-making in the fall when long hours were spent in peeling and preparing choicest apples which were boiled in the great copper kettle and richly seasoned with sugar and spice. Apple-butter-making was an all-day job in the boiling alone but the rich and tasty product is considered well worth the effort and any mountain woman who cannot display shelves laden with jars of apple-butter would be considered a laggard indeed.
But the mountain woman’s greatest pride and joy was handiwork—quiltmaking, crocheting. Perhaps it is because these crafts have always gone hand-in-hand with courtship and marriage.
At the first call of the robin in the spring, Aunt Emmie on Honey Camp Run, in clean starched apron and calico frock, dragged her rocker to the front stoop of her little house and there she sat for hours rocking contentedly while her nimble fingers moved swiftly with crochet needle and thread. “Aunt Emmie’s crocheting lace for Lulie Bell’s wedding garments.” Folks knew the signs. Hadn’t Lulie Bell ridden muleback from Old Nell Knobjust as soon as winter broke to take the day with the old woman. “Make mine prettier than Dessie’s and Flossie’s,” she had said. Or, “I want the seashell pattern for my pillowcases.” Or, “I want you to crochet me a pretty chair back.” “I want a lamberkin all scalloped deep”—another bride-to-be measured a half arm’s length. “I want my edging for the gown and petticoat to match.” Passersby overheard the talk of the young folk. “Wouldn’t you favor the fan pattern?” Aunt Emmie offered a suggestion now and then while the shiny needle darted in and out of scallop and loop. Sometimes she dropped a word of advice to the young, how to live a long and happy married life, how and when to plant, what to take for this ailment and that. There were things that brought bad luck, she warned, and some that brought good.
“If a bride plants cucumber seed the first day of May when the dew is still on the ground, the vines will grow hardy and bear lots of cucumbers and she will bring forth many babes, too,” her words fell on willing ears of the young bride-to-be. “If you sleep under a new quilt that no one has ever slept under, what you dream that night will come true.” Many a young miss declared she had experienced the proof of the saying. There was something else. “Mind, don’t ever sew a ripped seam or patch a garment that’s on your back. There will be lies told on you sure as you do.” That could be proved in most any community in the Blue Ridge.
Yards upon yards of lace Aunt Emmie crocheted, the Clover Leaf pattern, the Sea Shell, Acorn, the Rose, and if a bride-to-be had no silver, the lacemaker was content to take in exchange a pat of butter, eggs, or well-cured ham. Her delight was in the work itself.
The thrifty woman of the mountains takes great pridein her quilts; not only does she strive to excel her neighbor in the variety of patterns but in the number as well. On a bright summer day she brings them out of cupboard and presses, and hangs them on the picket fence to sun. She is pleased when a passerby stops to admire, and especially so if it be a young miss. The older woman recognizes the motive behind the question, “What is this pattern?” “Is this easy to piece?” The older woman knows the young miss has marrying in her head and goes to great lengths to explain. “Now this is Compass and Nine Patch and it’s easiest of any to put together. This is Grandmother’s Flower Garden—it’s a lot of little bitsy pieces, you see, and a heap of different colors and it’s most powerful tejous to put together. This is Double Wedding Ring, this Irish Chain”—she names one after another—“this is Neck Tie, and this in the fair blue and white is Dove in the Window.”
The quiltmaker is even more pleased when the young miss comes to take the day and she has the proud privilege of starting John’s or Tom’s future wife on her very first quilt. It is an occasion of merriment when the quilt is finally finished and taken out of the frames after many a pleasant quilting bee. Then, at the urging of one of the older women, two girls shake a cat on the new quilt. The one toward whom the cat jumps will be married first, they believe. Some brides believe too that by going to the oldest woman in the community to set up the quilt for their marriage bed they will be insured long life and joy. There are lovelorn maidens so eager to peer into the future they will even help a neighbor on wash day. Two girls will wring a dripping quilt by twisting it in rope fashion. The one toward whom the end curls up will be first to rock the cradle.
4. Tradition
Philomel Whiffet’s Singing School
Philomel Whiffet was dim of eye and sparse of beard. A little white fringe framed his wrinkled face and numbered indeed were the hairs of his foretop. Trudging up the snow-covered mountain, he caught sight of the glowing stove through the window of Bethel church house whither he was bound this winter night to conduct singing school. He chuckled to himself, drawing the knitted muffler closer about his thin throat and making fast the earflaps of his coonskin cap. “Yes, they’re getting the place het up before the womenfolk come. Mathias or Jonathan, one or the other.” The singing master had come to know the signs by the behavior of the old heating stove—who rivaled, who courted, who might be on the outs. “It’s Jonathan that’s making the fire tonight. I caught the shadow of him against the wall when he threw in the stove wood. Jonathan’s all of a head taller than Mathias. Trying to get in favor with Drusilla Osborn. It’s a plum shame the way that girl taynts him and Mathias. At meeting first with one, then the other. She’s got the two young fellows as mad as hornets at each other nigh half the time. No telling, Dru’s liable to shun them both when it comes to choosing a mate. Women are strange creatures.” The singing master talked to himself as he plodded on.
Many the year Philomel Whiffet traveled that selfsame road with the selfsame aim, for the church house was the only place on Pigeon Creek where folks could gather. The seat of learning too it was there in the Tennessee mountains, so that old Whiffet, having journeyed hither and yon to take up a subscription for singing school, must need get the consent of school trustees and elders in order to hold forth in Bethel church house. Honor-bound too, was he, to divide his fee of a dollar per scholar with his benefactors.
“We’re giving you the chance, brother Whiffet, to earn a living,” one of the elders murmured when the singing master that year shared with them his meager earnings. But when Philomel ventured to suggest it might liven the gathering somewhat if he brought along his dulcimer and strummed the tune while scholars sang, both elders and trustees stood aghast. Couldn’t believe their ears. “Brother Whiffet!” gasped one of the elders, “so long as we’re in our right mind no music box of any nature shall be brought into Bethel church house. We don’t intend to contrary the good Lord in any such way.”
That settled it.
The memory of that session brought a smile to the old man’s face. “Elders and women have strange ways,” he told himself as he walked on through the snow, eyes fixed on the beacon light of the old heating stove in the church house.
“Now I used to think that Mathias had got the best of Jonathan,” his thoughts returned to the present, “but there’s no knowing if Drusilla is aiming to set down her name Mistress Oneby or Mistress Witchcott. Women are powerful tetcheous. Keep a man uncertain and troubled in his mind with their everlasting whims.”
No one knew that any better than did Philomel Whiffet. It made him patient with the young fellows in their trials, for he had had a mighty hard row to hoe in his own courting days. Hadn’t Ambrose Creech and Herb Masters aggravated him within an inch of his life before he finally persuaded Clarissa that neither of the two was worth his salt, that only he, Philomel Whiffet, the singing master, could bring her happiness in wedded life. That had been long years ago.
Philomel had been a widower for ten years past and never once had he cast eyes on another woman; that is to say, with the idea of marriage. “There’s no need for a man to put his mind on such as that without he can better himself, and I never calculate to see Clarissa’s equal, let alone her betters. Nohow, singing school is good a-plenty to keep a body company.” That was Philomel Whiffet’s notion and he stuck to it. It was as though she, Clarissa, still bustled about the Whiffet cabin, for Philomel, though he lived alone, kept the place as she had—spic and span just as Clarissa had left it. There on the shelf were the cedar piggins, scoured clean with white sand from the creek, one for spice, one for rendering, one for sweeting. And there on the wall hung the salt gourd. “It’s convenient to the woman for cooking,” he had said when first they started housekeeping. How happy he had been in those days, looking after Clarissa and the little Whiffets as they came along. Not until they were all grown and married off and gone, and he and Clarissa were alone once more, did he really come to realize how very happy their household had been. He liked to look back on those times. “It’s singing-school night, Pa”—Clarissa had taken to calling him Pa; got it from the children. “You best strike the tuning fork and sing a tune or two before you start. Gets your throatlimbered up and going smooth.” Philomel had come to wait for her urging. Then he would fumble in his waistcoat pocket for the tuning fork and tapping it to chair rim or bootheel, he’d hold it to his ear, pitch the tune, and sing a verse or two of this ballad and of that. Then when he started forth on a winter’s night, “Mind your wristban’s!” his wife would say, “and your spectacles! Don’t forget your spectacles! Your sight’s not sharp as it once was. And your tuning fork, Pa. Don’t forget to put it in your pocket.” It pleased the old singing master in those days to have Clarissa feel that he was dependent upon her. And now that she was gone, for ten long years, those familiar words running through old Philomel Whiffet’s thoughts were all he had left to remind him of his needs when he started out to singing school.
Slowly he plodded on through the snow, his eyes raised now and again to the light of the heating stove in the church house.
Arrived at the door he stomped the snow from his well-greased boots and went in. Untying the flaps of the coonskin cap he moved across the floor. “Good evening, boys,” he greeted cheerily, unwinding now the muffler from his throat.
“Good evening, sir!” the early birds, Jonathan and Ephraim Scaggs, answered together. It wasn’t Mathias Oneby, after all, whose shadow he had seen against the wall. At once the singing master knew why Ephraim Scaggs was there. His sister, Tizzie Scaggs, was head-over-heels in love with Jonathan Witchcott. She was trying every scheme to get him away from Drusilla Osborn. Yes, Tizzie had sent her brother Ephraim along with Jonathan to make the fire so he could drop in a few words about her; how apt she, Tizzie, was at many tasks, what a fine wife she’dmake for some worthy fellow. Philomel Whiffet knew the way of young folks. And Drusilla knew the ways of Tizzie. She was really wary of her and watchful, though Dru would never own it to Jonathan Witchcott.
Even though the snow was nearly knee-deep it didn’t keep folks from singing school. Already they were crowding in. So by the time old Whiffet was ready to begin every bench was filled. Young men and old in homespun and high boots, mothers and young girls in shawls and fascinators, talking and laughing at a lively clip as they took their places: sopranos in the front benches opposite the bass singers; behind them, altos and tenors.
“I’m sorry to see that some of our high singers are not here this evening.” The old singing master from his place behind the stand surveyed the gathering, squinting uncertainly by the light of the oil lamp. High on the wall it hung without chimney, its battered tin reflector dimmed by soot of many nights’ accumulation. He picked up the notebook from the little stand which served as pulpit for the preachers on Sundays, and casually remarked, “We kinda look to the high singers to help us through, to pitch the tune and carry it. Too bad”—he squinted again toward the gathering—“that Drusilla Osborn is not here. Dru is a extra fine singer. A fine note-singer is Dru. Takes after the Osborns. Any of you heard if Osborns’ folks have got sickness?”
A titter passed over the singing school and just then Tizzie Scaggs, leering at Dru, piped out, “Why, yonder’s Dru Osborn in the back seat!”
The tittering raised to a snicker and Philomel Whiffet, too flabbergasted to call out Drusilla’s name and send her to her own seat with the sopranos where she belonged, turned quickly his back to the school and fumbled in hispocket. He brought forth a piece of charred wood, for chalk was a rarity on Pigeon Creek, and began to set down on the rough log wall a measure of music. In shaped notes, for round notes had not yet made their way into Philomel Whiffet’s singing school. Painstakingly he set down the symbols, some like little triangles, others square, until he had completed a staff. Nor did he face the school again until all the tittering had subsided. Then with the same charred stick he drew a mark on the floor and called for sopranos, alto, bass, and tenor to toe the mark.
Drusilla Osborn was first, then Lettie Burley, an alto, came next. Tom Jameson, the tenor, and Felix Rideout, who couldn’t be beat singing bass, stood in a row careful-as-you-please to see that they kept a straight line, toes to the mark, shoulders back, chests expanded. They sang the scale through twice—forward and backward, bowed to the singing master, then went back to their seats. It was a never-changing form to which Philomel Whiffet clung as an example for the whole school to follow should they be called to toe the mark. A fine way to show all how a singer should rightly stand and rightly sing.
“Now, scholars,” Whiffet brushed the black from his fingers, having replaced the charred stick in his pocket, “lend attention!” Taking the tuning fork from his waistcoat pocket, he looked thoughtfully at the school. “Being as this singing school is drawing to a close, seems to me we should review all we can this evening.” He paused. “Now all that feel the urge can take occasion to clear their throats before we start in.”
Not one spurned the invitation, and when the raucous noise subsided Philomel Whiffet tapped the tuning fork briskly on the edge of the stand, put it to his ear, and listened as he gazed thoughtfully downward.
“Do! Me! Sol! Do!” he sang in staccato notes, nodding the sparse gray foretop jerkily with each note as bass, alto, tenor, soprano took up their pitch. Thereupon he seized the pointer, a long switch kept conveniently near in the corner, and indicated the first note of the staff.
Scarcely had the pointer tapped a full measure before the school realized they were singing by note an old familiar tune and with that they burst forth with the words:
Oh! have you heard Geography sung?
For if you’ve not it’s on my tongue;
First the capitals one by one,
United States, Washington.
They changed the meter only slightly as they boomed forth:
Augusta, Maine, on the Kennebec River,
Concord, New Hampshire, on the Merrimac.
Of course they knew it was the Geography Song from their McGuffey Reader which the singing master had set to tune. To make sure they had not forgotten the McGuffey piece he halted the singing and directed that they speak over the piece together, which they did with a verve:
Oh! have you heard Geography sung?
For if you’ve not, it’s on my tongue;
About the earth in air that’s hung.
All covered with green, little islands.
Oceans, gulfs, and bays, and seas;
Channels and straits, sounds, if you please;
Great archipelagoes, too, and all these
Are covered with green, little islands.
Philomel Whiffet sometimes had his school do unexpected things that way. And now once again they went on with the geography singing lesson, putting in the names of places and rivers to the tune.
Far and wide traveled Philomel Whiffet’s singing school, wafted by note from freedom’s shore to African wilds. They knew it all by heart. On and on they sang, and Drusilla Osborn’s voice led all the rest:
Bolivia capital Suc-re
Largest city in South America
Mexico is Mexico
Government Republican
Around the world and back again, nor did they stop until they again went through all the States, finishing with a lusty:
New Hampshire’s capital is for a fact
Concord on the Merrimac.
Silence came at last.
Taking from the stand the songbook, Philomel placed a hand behind him and announced with quiet decorum, “Those who have brought their notebooks will please open them up to page—” he faltered, fumbling the leaves of his book. “Open to page—” still groping was Philomel Whiffet and squinting at the faded pages. “Those who have not brought their notebooks can look on with someone else.” Trying to act unconcerned was the singing master. “Turn to one—of our—old favorites,” poor old Whiffet murmured, still fumbling the pages of the book. “My eyes—are dim”—he mumbled in confusion—“I—cannot see.” Vainly he searched his vest pockets, the pocketsof his coat. “—I’ve left my specs at home,” he blurted in desperation.
With that the tantalizing Drusilla Osborn, from her bench at the back of the room, nudged the girl beside her and, pointing to the staff of music left on the wall where Philomel had placed it,—Dru began to hum. “You’ve pitched it too shaller,” whispered the other girl, and quickly Dru hummed a lower register until her companion caught the pitch; then the two sang loud and shrill:
My eyes are dim, I cannot see,
My specs I left at home.
And before Philomel Whiffet knew what had happened, sopranos, altos, and bass had taken up the tune. Even Jonathan Witchcott, for all he sat on the very front bench where anybody could see with half an eye that the singing master was plagued and shamefaced, let out his booming bass with all his might and main. Hadn’t Drusilla pitched the tune? What else was the doting Jonathan to do? The two had been courting full six months, just to spite Mathias Oneby if for no other reason. And Mathias, the patient and meek fellow, sitting in the far corner of the very last bench straight across from the adored Drusilla, sitting where anyone could see that Dru was playing a prank, when he heard the mighty boom of his rival, joined in with his high tenor:
My eyes are dim, I cannot see,
My specs I left at home.
Louder and stronger roared Jonathan’s bass. And Mathias, not to be excelled, raised his shrill notes higher still, sweeping the sopranos along with him.
Bethel church house fairly trembled on its foundation. Poor old Philomel Whiffet raised his hands in dismay: “I did not mean for you to sing!” he cried, and again Drusilla took up his words:
I did not mean for you to sing
and louder swelled the chorus. All the while the singing master stood trembling, shaking his white head hopelessly. “I did not mean for you to sing,” he pleaded, “I only meant my eyes were dim!”
His words merely spurred them on. On surged the voices, bass, soprano, alto, tenor, in loud and mighty
I did not mean for you to sing,
I only meant my eyes were dim.
The singing master fumbled his woolly wristbands, thrust his hands deep into pockets of coat and breeches, and peered searchingly about the little stand where, it was plain to see, was nothing but the songbook which he had dropped in his confusion. At last his trembling hand sought the sparse foretop. There, bless you, rested the lost spectacles. He yanked them to the bridge of his nose, and then, just as though he didn’t know all the time it was Drusilla Osborn behind the prank, he turned his attention toward that pretty young miss.
“Drusilla”—you’d never suspect what he was up to—“we all favor your voice in the ditty of My Son John. And you, Jonathan Witchcott, I don’t know of any other fellow that can better sing the part of the courting man than you yourself. And I’m satisfied that no fairer maid was ever wooed than Dru yonder. So lead off, lest the other fellow get the best of you.”
Almost before Jonathan was aware of it he was singing, with his eyes turned yearningly upon Dru:
My man John, what can the matter be,
That I should love the lady fair and she should not love me?
She will not be my bride, my joy nor my dear,
And neither will she walk with me anywhere.
Then, lest a moment be lost, the singing master himself egged on the swain by singing the part of the man John:
Court her, dearest Master, you court her without fear,
And you will win the lady in the space of half a year;
And she will be your bride, your joy and your dear,
And she will take a walk with you anywhere.
Encouraged by the smiling school, Jonathan Witchcott took up the song, turning yearningly to Dru who now smiled coyly, head to one side, while he entreated:
Oh, Madam, I will give to you a little greyhound,
And every hair upon its back shall cost a thousand pound,
If you will be my bride, my joy and my dear,
And you will take a walk with me anywhere.
Scarcely had the last note left his lips when Drusilla, now that all eyes were turned upon her, sang coquettishly:
Oh, Sir, I won’t accept of you a little greyhound,
Though every hair upon its back did cost a thousand pound,
I will not be your bride, your joy nor your dear,
And neither will I walk with you anywhere.
With added fervor Jonathan offered more:
Oh, Madam, I will give you a fine ivory comb,
To fasten up your silver locks when I am not at home.
That too Dru spurned, but all the same she was watching nervously—indeed Dru was watching anxiously—Tizzie Scaggs, lest she take up Jonathan’s offer, which is another girl’s right in the play-game song.
Quickly Jonathan Witchcott, knowing all this, sang pleadingly:
Oh, Madam, I will give to you the keys of my heart,
To lock it up forever that we never more may part,
If you will be my bride, my joy and my dear.
Whereupon Drusilla, her eyes sparkling, her rosy lips parted temptingly, sang:
Oh, Sir, I will accept of you the keys of your heart;
I’ll lock it up forever and we never more will part,
And I will be your bride, your joy and your dear,
And I will take a walk with you anywhere.
When her last note ended Dru turned demurely toward Jonathan, whereupon that happy swain leaped to his feet and, extending a hand toward the singing master, sang:
My man, Philomel Whiffet, here’s fifty pounds, for thee,
I’d never have won this lady fair if it hadn’t been for thee.
With that the whole singing school cheered and laughed.
Drusilla Osborn was so excited she almost twisted her kerchief into shreds, for she and all the rest knew that by consenting to sing the play-game song through she and Jonathan had thereby plighted their troth. Either could have dropped out on the very second verse if they had been so inclined. But there, they had sung it through to the end. If she hadn’t Tizzie Scaggs would have leaped atthe chance. So now, the singing master arose and was first to wish them well.
“A life of joy to the Witchcotts!” He bowed profoundly.
Even Mathias Oneby wished his rival happiness. The girls tittered. Older folks nodded approval.
Then away they all went into the starlit night, trooping homeward through the snow, Jonathan and Drusilla leading the way.
Philomel Whiffet lingered a moment in the doorway of Bethel church house chuckling to himself, “Dru’s got her just deserts. She had no right to taynt the two young fellows. I’m pleased I caught her in the snare and made her choose betwixt them.” He wrapped the muffler about his throat and, drawing on his mittens, the singing master stepped out into the snow, the coonskin cap drawn lower over his bespectacled eyes. “I’m proud I caught Dru for Jonathan,” he repeated. “She’s too peert nowhow for that shy Mathias Oneby. Women are strange critters when it comes to courting. And her prankin’ like she did over me misplacing my specs.”
He went steadily on his way, mittened hands thrust deep into coat pockets, spectacles firmly on the bridge of his nose. “She had no call to make mock of me and my specs like she did,” Philomel mumbled to himself as he trudged along.
As for the courting play-game song and the way it turned out for Dru and Jonathan, that story too traveled far and wide, so that Philomel Whiffet never lacked for a singing school as long as he lived. That is the reason, old folks will tell you, you’ll come upon so many good singers to this day along Pigeon Creek.