Aaron in the Wildwoods

by Joel Chandler Harris

  Nothing would do but he must have a look at the toys that used to amuse him when he was a little bit of a boy; and in getting out the old toys the mother found a shoe he had worn when he first began to walk,—a little shoe out at the toe and worn at the heel.

  This interested the lad more than all the toys. He held it in his hand and measured it with his thumb. And was it truly true that he had ever worn a shoe as small as that? The shoe reminded him of something else he had been thinking of. He had dreamed that when he got well he would need his crutches no more, and he wondered how it would feel to walk with his feet on the ground.

  And there was the old popgun, too, still smelling of chinaberries. If Aaron only but knew it, that popgun had been a wonderful gun. Yes, siree! the bird that didn't want to get hurt when that popgun was in working order had to run mighty fast or fly mighty high. But, heigh-ho! he was too old and too large for popguns now, and when he got well, which would be pretty soon, he would have a sure-enough gun, and then he would get a powder flask and a shot bag and mount the Gray Pony and shoot—well, let's see what he would shoot: not the gray squirrels, they were too pretty; not the shy partridges, they might have nests or young ones somewhere; not the rabbits—they were too funny with their pop eyes and big ears. Well, he could shoot at a mark, and that's just what he would do.

  And when night fell, the Little Master wanted to hear the negroes sing. And he wanted mother and father and sister to hear them too—not the loud songs, but the soft and sweet ones. But the negroes wouldn't feel like singing at all if everybody was in the room with them, and mother and father and sister could sit in the next room and pretend they were not listening. And so it was arranged.

  When the negroes arrived and were ushered into the room by Mammy Lucy, they were so embarrassed and felt so much out of place they hardly knew what to do, or say, or how to begin. Aaron was carrying the Little Master in his arms, walking up and down, up and down, and his long strides and supple knees gave a swinging motion to his body that was infinitely soothing and restful to the Little Master. Swinging back and forth, up and down, the Son of Ben Ali paid no attention to the negroes, and they stood confused for a moment, but only for a moment. Suddenly there came streaming into the room the strain of a heart-breaking melody, rising and falling, falling and rising, as the leaves of a weeping willow are blown by the wind; drifting away and floating back, as the foam of the wave is swayed by the sea.

  Little Crotchet lay still in Aaron's arms for ever so long. Was he listening? Who knows? He was almost within hearing of the songs of the angels. Suddenly he raised his head in the pause of the song—

  "Tell them all good-night. Tell mother"—

  Aaron stopped his swinging walk and placed the Little Master on the bed and stood beside it, his right hand raised above his head. It might have been a benediction, it might have been a prayer. The negroes interpreted it as a signal of dismissal. One by one they went softly to the bedside and gazed on the Little Master. He might have been asleep, for he was smiling. Each negro looked inquiringly at Aaron, and to each he nodded, his right hand still lifted above his head.

  THE DEATH OF THE LITTLE MASTER

  Big Sal had waited till the last, and she was the only one that said a word.

  "He look des like he did when he drapt asleep in deze arms," she cried, sobbing as though her heart would break, "an' I thank my God fer dat much! But oh, man, what a pity! What a pity!"

  And she went out of the house into the yard, and through the yard into the lot, and through the lot to the negro cabins, crying, "Oh, what a pity! what a pity!"

  Not for the Little Master, for he was smiling at the glorious vision of peace and rest that he saw when he said good-night. Not pity for the lad, but for those he had left behind him, for all who loved him; for all who had depended on his thoughtfulness; for all the weary and sorrowful ones. Oh, what a pity! Over and over again, what a pity! And the wind flowing softly about the world took up the poor negro's wailing cry and sent it over the hill and beyond, and the outlying messengers of the Swamp took it up—What a pity! And the Willis-Whistlers piped low, and the mysteries, swaying and slipping through the canes and tall grass, heard the whispered echo and sighed, Oh, what a pity!

  * * *

  Transcriber's Notes

  A number of words in this book had both hyphenated and non-hyphenated variants; for those words the variant more frequently used was retained. This book also contains dialect and vernacular conversation.

  Obvious punctuation errors were fixed.

  Other printing errors, which were not detected during the revision of the printing process of the original book, have been corrected.

  It was unclear if in the expression "simple as a-b ab" the second "ab" should be hyphenated. It was decided to keep the text unchanged.

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