Free Joe and Other Georgian Sketches

Excerpt

Thename of Free Joe strikes humorously upon the ear of memory. It is impossible to say why, for he was the humblest, the simplest, and the most serious of all God's living creatures, sadly lacking in all those elements that suggest the humorous. It is certain, moreover, that in 1850 the sober-minded citizens of the little Georgian village of Hillsborough were not inclined to take a humorous view of Free Joe, and neither his name nor his presence provoked a smile. He was a black atom, drifting hither and thither without an owner, blown about by all the winds of circumstance, and given over to shiftlessness.

The problems of one generation are the paradoxes of a succeeding one, particularly if war, or some such incident, intervenes to clarify the atmosphere and strengthen the understanding. Thus, in 1850, Free Joe represented not only a problem of large concern, but, in the watchful eyes of Hillsborough, he was the embodiment of that vague and mysterious danger that seemed to be forever lurking on the outskirts of slavery, ready to sound a shrill and ghostly signal in the impenetrable swamps, and steal forth under the midnight stars to murder, rapine, and pillage—a danger always threatening, and yet never assuming shape; intangible, and yet real; impossible, and yet not improbable. Across the serene and smiling front of safety, the pale outlines of the awful shadow of insurrection sometimes fell. With this invisible panorama as a background, it was natural that the figure of Free Joe, simple and humble as it was, should assume undue proportions. Go where he would, do what he might, he could not escape the finger of observation and the kindling eye of suspicion. His lightest words were noted, his slightest actions marked.

Under all the circumstances it was natural that his peculiar condition should reflect itself in his habits and manners. The slaves laughed loudly day by day, but Free Joe rarely laughed. The slaves sang at their work and danced at their frolics, but no one ever heard Free Joe sing or saw him dance. There was something painfully plaintive and appealing in his attitude, something touching in his anxiety to please. He was of the friendliest nature, and seemed to be delighted when he could amuse the little children who had made a playground of the public square. At times he would please them by making his little dog Dan perform all sorts of curious tricks, or he would tell them quaint stories of the beasts of the field and birds of the air; and frequently he was coaxed into relating the story of his own freedom. That story was brief, but tragical.

In the year of our Lord 1840, when a negro speculator of a sportive turn of mind reached the little village of Hillsborough on his way to the Mississippi region, with a caravan of likely negroes of both sexes, he found much to interest him. In that day and at that time there were a number of young men in the village who had not bound themselves over to repentance for the various misdeeds of the flesh. To these young men the negro speculator (Major Frampton was his name) proceeded to address himself. He was a Virginian, he declared; and, to prove the statement, he referred all the festively inclined young men of Hillsborough to a barrel of peach-brandy in one of his covered wagons. In the minds of these young men there was less doubt in regard to the age and quality of the brandy than there was in regard to the negro trader's birthplace. Major Frampton might or might not have been born in the Old Dominion—that was a matter for consideration and inquiry—but there could be no question as to the mellow pungency of the peach-brandy....