by Mark Twain
It was plain that I had got to learn the shape of the river in all the different ways that could be thought of,—upside down, wrong end first, inside out, fore-and-aft, and “thort-ships,”—and then know what to do on gray nights when it hadn’t any shape at all. So I set about it. In the course of time I began to get the best of this knotty lesson, and my self-complacency moved to the front once more. Mr. Bixby was all fixed, and ready to start it to the rear again. He opened on me after this fashion:—
“How much water did we have in the middle crossing at Hole-in-the-Wall, trip before last?”
I considered this an outrage. I said:—
“Every trip, down and up, the leadsmen are singing through that tangled place for three quarters of an hour on a stretch. How do you reckon I can remember such a mess as that?”
“My boy, you’ve got to remember it. You’ve got to remember the exact spot and the exact marks the boat lay in when we had the shoalest water, in every one of the five hundred shoal places between St. Louis and New Orleans; and you mustn’t get the shoal soundings and marks of one trip mixed up with the shoal soundings and marks of another, either, for they’re not often twice alike. You must keep them separate.”
When I came to myself again, I said,—
“When I get so that I can do that, I’ll be able to raise the dead, and then I won’t have to pilot a steamboat to make a living. I want to retire from this business. I want a slush-bucket and a brush; I’m only fit for a roustabout. I haven’t got brains enough to be a pilot; and if I had I wouldn’t have strength enough to carry them around, unless I went on crutches.”
“Now drop that! When I say I’ll learn5 a man the river, I mean it. And you can depend on it, I’ll learn him or kill him.”
“Continued Perplexities”
There was no use in arguing with a person like this. I promptly put such a strain on my memory that by and by even the shoal water and the countless crossing-marks began to stay with me. But the result was just the same. I never could more than get one knotty thing learned before another presented itself. Now I had often seen pilots gazing at the water and pretending to read it as if it were a book; but it was a book that told me nothing. A time came at last, however, when Mr. Bixby seemed to think me far enough advanced to bear a lesson on water-reading. So he began:—
“Do you see that long slanting line on the face of the water? Now, that’s a reef. Moreover, it’s a bluff reef. There is a solid sand-bar under it that is nearly as straight up and down as the side of a house. There is plenty of water close up to it, but mighty little on top of it. If you were to hit it you would knock the boat’s brains out. Do you see where the line fringes out at the upper end and begins to fade away?”
“Yes, sir.”
“Well, that is a low place; that is the head of the reef. You can climb over there, and not hurt anything. Cross over, now, and follow along close under the reef—easy water there—not much current.”
I followed the reef along till I approached the fringed end. Then Mr. Bixby said,—
“Now get ready. Wait till I give the word. She won’t want to mount the reef; a boat hates shoal water. Stand by—wait—wait—keep her well in hand. Now cramp her down! Snatch her! snatch her!”
He seized the other side of the wheel and helped to spin it around until it was hard down, and then we held it so. The boat resisted, and refused to answer for a while, and next she came surging to starboard, mounted the reef, and sent a long, angry ridge of water foaming away from her bows.
“Now watch her; watch her like a cat, or she’ll get away from you. When she fights strong and the tiller slips a little, in a jerky, greasy sort of way, let up on her a trifle; it is the way she tells you at night that the water is too shoal; but keep edging her up, little by little, toward the point. You are well up on the bar, now; there is a bar under every point, because the water that comes down around it forms an eddy and allows the sediment to sink. Do you see those fine lines on the face of the water that branch out like the ribs of a fan? Well, those are little reefs; you want to just miss the ends of them, but run them pretty close. Now look out—look out! Don’t you crowd that slick, greasy-looking place; there ain’t nine feet there; she won’t stand it. She begins to smell it; looks sharp, I tell you! Oh blazes, there you go! Stop the starboard wheel! Quick! Ship up the back! Set her back!”
The engine bells jingled and the engines answered promptly, shooting white columns of steam far aloft out of the ’scape pipes, but it was too late. The boat had “smelt” the bar in good earnest; the foamy ridges that radiated from her bows suddenly disappeared, a great dead swell came rolling forward and swept ahead of her, she careened far over to larboard, and went tearing away toward the other shore as if she were about scared to death. We were a good mile from where we ought to have been, when we finally got the upper hand of her again.
During the afternoon watch the next day, Mr. Bixby asked me if I knew how to run the next few miles. I said:—
“Go inside the first snag above the point, outside the next one, start out from the lower end of Higgin’s wood-yard, make a square crossing and”—
“That’s all right. I’ll be back before you close up on the next point.”
But he wasn’t. He was still below when I rounded it and entered upon a piece of river which I had some misgivings about. I did not know that he was hiding behind a chimney to see how I would perform. I went gayly along, getting prouder and prouder, for he had never left the boat in my sole charge such a length of time before. I even got to “setting” her and letting the wheel go, entirely, while I vaingloriously turned my back and inspected the stern marks and hummed a tune, a sort of easy indifference which I had prodigiously admired in Bixby and other great pilots. Once I inspected rather long, and when I faced to the front again my heart flew into my mouth so suddenly that if I hadn’t clapped my teeth together I should have lost it. One of those frightful bluff reefs was stretching its deadly length right across our bows! My head was gone in a moment; I did not know which end I stood on; I gasped and could not get my breath; I spun the wheel down with such rapidity that it wove itself together like a spider’s web; the boat answered and turned square away from the reef, but the reef followed her! I fled, and still it followed still it kept—right across my bows! I never looked to see where I was going, I only fled. The awful crash was imminent—why didn’t that villain come! If I committed the crime of ringing a bell, I might get thrown overboard. But better that than kill the boat. So in blind desperation I started such a rattling “shivaree” down below as never had astounded an engineer in this world before, I fancy. Amidst the frenzy of the bells the engines began to back and fill in a furious way, and my reason forsook its throne—we were about to crash into the woods on the other side of the river. Just then Mr. Bixby stepped calmly into view on the hurricane deck. My soul went out to him in gratitude. My distress vanished; I would have felt safe on the brink of Niagara, with Mr. Bixby on the hurricane deck. He blandly and sweetly took his tooth-pick out of his mouth between his fingers, as if it were a cigar,—we were just in the act of climbing an overhanging big tree, and the passengers were scudding astern like rats,—and lifted up these commands to me ever so gently:—
“Stop the starboard. Stop the larboard. Set her back on both.”
The boat hesitated, halted, pressed her nose among the boughs a critical instant, then reluctantly began to back away.
“Stop the larboard. Come ahead on it. Stop the starboard. Come ahead on it. Point her for the bar.”
I sailed away as serenely as a summer’s morning. Mr. Bixby came in and said, with mock simplicity,—
“When you have a hail, my boy, you ought to tap the big bell three times before you land, so that the engineers can get ready.”
I blushed under the sarcasm, and said I hadn’t had any hail.
“Ah! Then it was for wood, I suppose. The officer of the watch will tell you when he wants to wood up.”
I went on co
nsuming, and said I wasn’t after wood.
“Indeed?” Why, what could you want over here in the bend, then? Did you ever know of a boat following a bend up-stream at this stage of the river?”
“No, sir,—and I wasn’t trying to follow it. I was getting away from the bluff reef.”
“No, it wasn’t a bluff reef; there isn’t one within three miles of where you were.”
“But I saw it. It was as bluff as that one yonder.”
“Just about. Run over it.”
“Do you give it as an order?”
“Yes. Run over it.”
“If I don’t, I wish I may die.”
“All right; I am taking the responsibility.”
I was just as anxious to kill the boat, now, as I had been to save her before. I impressed my orders upon my memory, to be used at the inquest, and made a straight break for the reef. As it disappeared under our bows I held my breath; but we slid over it like oil.
“Now don’t you see the difference? It wasn’t anything but a wind reef. The wind does that.”
“So I see. But it is exactly like a bluff reef. How am I ever going to tell them apart?”
“I can’t tell you. It is an instinct. By and by you will just naturally know one from the other, but you never will be able to explain why or how you know them apart.”
It turned out to be true. The face of the water, in time, became a wonderful book—a book that was a dead language to the uneducated passenger, but which told its mind to me without reserve, delivering its most cherished secrets as clearly as if it uttered them with a voice. And it was not a book to be read once and thrown aside, for it had new story to tell every day. Throughout the long twelve hundred miles there was never a page that was void of interest, never one that you could leave unread without loss, never one that you would want to skip, thinking you could find higher enjoyment in some other thing. There never was so wonderful a book written by man; never one whose interest was so absorbing, so unflagging, so sparklingly renewed with every re-perusal. The passenger who could not read it was charmed with a peculiar sort of faint dimple on its surface (on the rare occasions when he did not overlook it altogether); but to the pilot that was an italicized passage; indeed, it was more than that, it was a legend of the largest capitals, with a string of shouting exclamation points at the end of it; for it meant that a wreck or a rock was buried there that could tear the life out of the strongest vessel that ever floated. It is the faintest and simplest expression the water ever makes, and the most hideous to a pilot’s eye. In truth, the passenger who could not read this book saw nothing but all manner of pretty pictures in it, painted by the sun and shaded by the clouds, whereas to the trained eye these were not pictures at all, but the grimmest and most dead-earnest of reading-matter.
Now when I had mastered the language of this water and had come to know every trifling feature that bordered the great river as familiarly as I knew the letters of the alphabet, I had made a valuable acquisition. But I had lost something, too. I had lost something which could never be restored to me while I lived. All the grace, the beauty, the poetry had gone out of the majestic river! I still keep in mind a certain wonderful sunset which I witnessed when steamboating was new to me. A broad expanse of the river was turned to blood; in the middle distance the red hue brightened into gold, through which a solitary log came floating, black and conspicuous; in one place a long, slanting mark lay sparkling upon the water; in another the surface was broken by boiling, tumbling rings, that were as many-tinted as an opal; where the ruddy flush was faintest, was a smooth spot that was covered with graceful circles and radiating lines, ever so delicately traced; the shore on our left was densely wooded, and the sombre shadow that fell from this forest was broken in one place by a long, ruffled trail that shone like silver; and high above the forest wall a clean-stemmed dead tree waved a single leafy bough that glowed like a flame in the unobstructed splendor that was flowing from the sun. There were graceful curves, reflected images, woody heights, soft distances; and over the whole scene, far and near, the dissolving lights drifted steadily, enriching it, every passing moment, with new marvels of coloring.
I stood like one bewitched. I drank it in, in a speechless rapture. The world was new to me, and I had never seen anything like this at home. But as I have said, a day came when I began to cease from noting the glories and the charms which the moon and the sun and the twilight wrought upon the river’s face; another day came when I ceased altogether to note them. Then, if that sunset scene had been repeated, I should have looked upon it without rapture, and should have commented upon it, inwardly, after this fashion: This sun means that we are going to have wind to-morrow; that floating log means that the river is rising, small thanks to it; that slanting mark on the water refers to a bluff reef which is going to kill somebody’s steamboat one of these nights, if it keeps on stretching out like that; those tumbling “boils” show a dissolving bar and a changing channel there; the lines and circles in the slick water over yonder are a warning that that troublesome place is shoaling up dangerously; that silver streak in the shadow of the forest is the “break” from a new snag, and he has located himself in the very best place he could have found to fish for steamboats; that tall dead tree, with a single living branch, is not going to last long, and then how is a body ever going to get through this blind place at night without the friendly old landmark?
No, the romance and the beauty were all gone from the river. All the value any feature of it had for me now was the amount of usefulness it could furnish toward compassing the safe piloting of a steamboat. Since those days, I have pitied doctors from my heart. What does the lovely flush in a beauty’s cheek mean to a doctor but a “break” that ripples above some deadly disease? Are not all her visible charms sown thick with what are to him the signs and symbols of hidden decay? Does he ever see her beauty at all, or doesn’t he simply view her professionally, and comment upon her unwholesomeness condition all to himself? And doesn’t he sometimes wonder whether he has gained most or lost most by learning his trade?
“Sunrise on the River”
I had myself called with the four o’clock watch, mornings, for one cannot see too many summer sunrises on the Mississippi. They are enchanting. First, there is the eloquence of silence; for a deep hush broods everywhere. Next, there is the haunting sense of loneliness, isolation, remoteness from the worry and bustle of the world. The dawn creeps in stealthily; the solid walls of black forest soften to gray, and vast stretches of the river open up and reveal themselves; the water is glass-smooth, gives off spectral little wreaths of white mist, there is not the faintest breath of wind, nor stir of leaf; the tranquility is profound and infinitely satisfying. Then a bird pipes up, another follows, and soon the pipings develop into a jubilant riot of music. You see none of the birds; you simply move through an atmosphere of song which seems to sing itself. When the light has become a little stronger, you have one of the fairest and softest pictures imaginable. You have the intense green of the massed and crowded foliage near by; you see it paling shade by shade in front of you; upon the next projecting cape, a mile off or more, the tint has lightened to the tender young green of spring; the cape beyond that one has almost lost color, and the furthest one, miles away under the horizon, sleeps upon the water a mere dim vapor, and hardly separable from the sky above it and about it. And all this stretch of river is a mirror, and you have the shadowy reflections of the leafage and the curving shores and the receding capes pictured in it. Well, that is all beautiful; soft and rich and beautiful; and when the sun gets well up, and distributes a pink flush here and a powder of gold yonder and a purple haze where it will yield the best effect, you grant that you have seen something that is worth remembering.
“The House Beautiful”
We took passage in a Cincinnati boat for New Orleans; or on a Cinncinnati boat—either is correct; the former is the eastern form of putting it, the latter the western.
Mr. Dickens declined to agree
that the Mississippi steamboats were “magnificent,” or that they were “floating palaces,”—terms which had always been applied to them; terms which did not over-express the admiration with which the people viewed them.
Mr. Dickens’s position was unassailable, possibly; the people’s position was certainly unassailable. If Mr. Dickens was comparing these boats with the crown jewels; or with the Taj, or with the Matterhorn; or with some other priceless or wonderful thing which he had seen, they were not magnificent—he was right. The people compared them with what they had seen; and, thus measured, thus judged, the boats were magnificent—the term was the correct one, it was not at all too strong. The people were as right as was Mr. Dickens. The steamboats were finer then anything on shore. Compared with superior dwelling-houses and first class hotels in the Valley, they were indubitably magnificent, they were “palaces.” To a few people living in New Orleans and St. Louis, they were not magnificent, perhaps; not palaces; but to the great majority of those populations, and to the entire populations spread over both banks between Baton Rouge and St. Louis, they were palaces; they tallied with the citizen’s dream of what magnificence was, and satisfied it.
Every town and village along that vast stretch of double river-frontage had a best dwelling, finest dwelling, mansion,—the home of its wealthiest and most conspicuous citizen. It is easy to describe it: large grassy yard, with paling fence painted white—in fair repair; brick walk from gate to door; big, square, two-story “frame” house, painted white and porticoed like a Grecian temple—with this difference, that the imposing fluted columns and Corinthian capitals were a pathetic sham, being made of white pine, and painted; iron knocker; brass door knob—discolored, for lack of polishing. Within, an uncarpeted hall, of planed boards; opening out of it, a parlor, fifteen feet by fifteen—in some instances five or ten feet larger; ingrain carpet; mahogany centre-table; lamp on it, with green-paper shade—standing on a gridiron, so to speak, made of high-colored yarns, by the young ladies of the house, and called a lampmat; several books, piled and disposed, with cast-iron exactness, according to an inherited and unchangeable plan; among them, Tupper, much pencilled; also, “Friendship’s Offering,” and “Affection’s Wreath,” with their sappy inanities illustrated in die-away mezzotints; also, Ossian; “Alonzo and Melissa;” maybe “Ivanhoe;” also “Album,” full of original “poetry” of the Thou-hast-wounded-the-spirit-that-loved-thee breed; two or three goody-goody works—”Shepherd of Salisbury Plain,” etc.; current number of the chaste and innocuous Godey’s “Lady’s Book,” with painted fashion-plate of wax-figure women with mouths all alike—lips and eyelids the same size—each five-foot woman with a two-inch wedge sticking from under her dress and letting-on to be half her foot. Polished air-tight stove (new and deadly invention), with pipe passing through a board which closes up the discarded good old fireplace. On each end of the wooden mantel, over the fireplace, a large basket of peaches and other fruits, natural size, all done in plaster, rudely, or in wax, and painted to resemble the originals—which they don’t. Over middle of mantel, engraving—Washington Crossing the Delaware; on the wall by the door, copy of it done in thunder-and-lightning crewels by one of the young ladies—work of art which would have made Washington hesitate about crossing, if he could have foreseen what advantage was going to be taken of it. Piano—kettle in disguise—with music, bound and unbound, piled on it, and on a stand near by: Battle of Prague; Bird Waltz; Arkansas Traveller; Rosin the Bow; Marseilles Hymn; On a Lone Barren Isle (St. Helena); The Last Link is Broken; She wore a Wreath of Roses the Night when we last met; Go, forget me, Why should Sorrow o’re that Brow a Shadow fling; Hours there were to Memory Dearer; Long, Long Ago; Days of Absence; A Life on the Ocean Wave, a Home on the Rolling Deep; Bird at Sea; and spread open on the rack, where the plaintive singer has left it, Ro-holl on, silver moo-hoon, guide the trav-el-lerr his way, etc. Tilted pensively against the piano, a guitar—guitar capable of playing the Spanish Fandango by itself, if you give it a start. Frantic work of art on the wall—pious motto, done on the premises, sometimes in colored yarns, sometimes in faded grasses: progenitor of the “God Bless Our Home” of modern commerce. Framed in black mouldings on the wall, other works of art, conceived and committed on the premises, by the young ladies; being grim black-and-white crayons; landscapes, mostly: lake, solitary sail-boat, petrified clouds, pre-geological trees on shore, anthracite precipice; name of criminal conspicuous in the corner. Lithograph, Napoleon Crossing the Alps. Lithograph, The Grave at St. Helena. Steel-plates, Trumbull’s Battle of Bunker Hill, and the Sally from Gibraltar. Copper-plates, Moses Smiting the Rock, and Return of the Prodigal Son. In big gilt frame, slander of the family in oil: papa holding a book (“Constitution of the United States”); guitar leaning against mamma, blue ribbons fluttering from its neck; the young ladies, as children, in slippers and scalloped pantelettes, one embracing toy horse, the other beguiling kitten with ball of yarn, and both simpering up at mamma, who simpers back. These persons all fresh, raw, and red—apparently skinned. Opposite, in gilt frame, grandpa and grandma, at thirty and twenty-two, stiff, old-fashioned, high-collared, puff-sleeved, glaring pallidly out from a background of solid Egyptian night. Under a glass French clock dome, large bouquet of stiff flowers done in corpsy white wax. Pyramidal what-not in the corner, the shelves occupied chiefly with bric-a-brac of the period, disposed with an eye to best effect; shell, with the Lord’s Prayer carved on it; another shell—of the long-oval sort, narrow, straight orifice, three inches long, running from end to end— portrait of Washington carved on it; not well done; the shell had Washington’s mouth, originally—artist should have built to that. These two are memorials of the long-ago bridal trip to New Orleans and the French Market. Other bric-a-brac: California “specimens”—quartz, with gold wart adhering; old Guinea-gold locket, with circlet of ancestral hair in it; Indian arrow-heads, of flint; pair of bead moccasins, from uncle who crossed the Plains; three “alum” baskets of various colors—being skeleton-frame of wire, clothed-on with cubes of crystallized alum in the rock-candy style—works of art which were achieved by the young ladies; their doubles and duplicates to be found upon all what-nots in the land; convention of desiccated bugs and butterflies pinned to a card; painted toy-dog, seated upon bellows-attachment—drops its under jaw and squeaks when pressed upon; sugar-candy rabbit—limbs and features merged together, not strongly defined; pewter presidential-campaign medal; miniature card-board wood-sawyer, to be attached to the stove-pipe and operated by the heat; small Napoleon, done in wax; spread-open daguerreotypes of dim children, parents, cousins, aunts, and friends, in all attitudes but customary ones; no templed portico at back, and manufactured landscape stretching away in the distance—that came in later, with the photograph; all these vague figures lavishly chained and ringed—metal indicated and secured from doubt by stripes and splashes of vivid gold bronze; all of them too much combed, too much fixed up; and all of them uncomfortable in inflexible Sunday-clothes of a pattern which the spectator cannot realize could ever have been in fashion; husband and wife generally grouped together—husband sitting, wife standing, with hand on his shoulder—and both preserving, all these fading years, some traceable effect of the daguerreotypist’s brisk “Now smile, if you please!” Bracketed over what-not—place of special sacredness—an outrage in water-color, done by the young niece that came on a visit long ago, and died. Pity, too; for she might have repented of this in time. Horse-hair chairs, horse-hair sofa which keeps sliding from under you. Window shades, of oil stuff, with milk-maids and ruined castles stencilled on them in fierce colors. Lambrequins dependent from gaudy boxings of beaten tin, gilded. Bedrooms with rag carpets; bedsteads of the “corded” sort, with a sag in the middle, the cords needing tightening; snuffy feather-bed—not aired often enough; cane-seat chairs, splint-bottomed rocker; looking-glass on wall, school-slate size, veneered frame; inherited bureau; wash-bowl and pitcher, possibly—but not certainly; brass candlestick, tallow candle, snuffers. N
othing else in the room. Not a bathroom in the house; and no visitor likely to come along who has ever seen one.
