Twelve Years a Slave

fiddle in his hand. “Where are you going now, Platt?” and “What is coming off tonight, Platt?” would be interrogatories issuing from every door and window, and many a time when there was no special hurry, yielding to pressing importunities, Platt would draw his bow, and sitting astride his mule, perhaps, discourse musically to a crowd of delighted children, gathered around him in the street.
    Alas! had it not been for my beloved violin, I scarcely can conceive how I could have endured the long years of bondage. It introduced me to great houses — relieved me of many days’ labor in the field — supplied me with conveniences for my cabin — with pipes and tobacco, and extra pairs of shoes, and oftentimes led me away from the presence of a hard master, to witness scenes of jollity and mirth. It was my companion — the friend of my bosom triumphing loudly when I was joyful, and uttering its soft, melodious consolations when I was sad. Often, at midnight, when sleep had fled affrighted from the cabin, and my soul was disturbed and troubled with the contemplation of my fate, it would sing me a song of peace. On holy Sabbath days, when an hour or two of leisure was allowed, it would accompany me to some quiet place on the bayou bank, and, lifting up its voice, discourse kindly and pleasantly indeed. It heralded my name round the country — made me friends, who, otherwise would not have noticed me — gave me an honored seat at the yearly feasts, and secured the loudest and heartiest welcome of them all at the Christmas dance. The Christmas dance! Oh, ye pleasure-seeking sons and daughters of idleness, who move with measured step, listless and snail-like, through the slow-winding cotillon, if ye wish to look upon the celerity, if not the “poetry of motion” — upon genuine happiness, rampant and unrestrained — go down to Louisiana, and see the slaves dancing in the starlight of a Christmas night.
    On that particular Christmas I have now in my mind, a description whereof will serve as a description of the day generally, Miss Lively and Mr. Sam, the first belonging to Stewart, the latter to Roberts, started the ball. It was well known that Sam cherished an ardent passion for Lively, as also did one of Marshall’s and another of Carey’s boys; for Lively was lively indeed, and a heart-breaking coquette withal. It was a victory for Sam Roberts, when, rising from the repast, she gave him her hand for the first “figure” in preference to either of his rivals. They were somewhat crest-fallen, and, shaking their heads angrily, rather intimated they would like to pitch into Mr. Sam and hurt him badly. But not an emotion of wrath ruffled the placid bosom of Samuel as his legs flew like drum-sticks down the outside and up the middle, by the side of his bewitching partner. The whole company cheered them vociferously, and, excited with the applause, they continued “tearing down” after all the others had become exhausted and halted a moment to recover breath. But Sam’s superhuman exertions overcame him finally, leaving Lively alone, yet whirling like a top. Thereupon one of Sam’s rivals, Pete Marshall, dashed in, and, with might and main, leaped and shuffled and threw himself into every conceivable shape, as if determined to show Miss Lively and all the world that Sam Roberts was of no account.
    Pete’s affection, however, was greater than his discretion. Such violent exercise took the breath out of him directly, and he dropped like an empty bag Then was the time for Harry Carey to try his hand; but Lively also soon out-winded him, amidst hurrahs and shouts, fully sustaining her well-earned reputation of being the “fastest gal” on the bayou.
    One “set” off, another takes its place, he or she remaining longest on the floor receiving the most uproarious commendation, and so the dancing continues until broad daylight. It does not cease with the sound of the fiddle, but in that case they set up a music peculiar to themselves. This is called “patting,” accompanied with one of those unmeaning songs, composed rather for its adaptation to a certain tune or measure, than for the purpose of expressing any distinct idea. The patting is performed by striking the hands on the knees, then striking the hands together, then striking the right shoulder with one hand, the left with the other — all the while keeping time with the feet, and singing, perhaps, this song:

    “Harper’s creek and roarin’