December 11, 1851 Transcription

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Chapter XXVI.

This is the last of Earth.”—John Q. Adams.

The statuettes and pictures in Eva’s room were shrouded in white napkins, and only hushed breathings and muffled foot-falls were heard there, and the light stole in solemnly through windows partially darkened by closed blinds.

The bed was draped in white, and there, beneath the drooping angel, lay a little sleeping form—sleeping never to waken!

There she lay, robed in one of the simple white dresses she had been wont to wear when living—the rose-colored light through the curtains, cast over the icy coldness of death a warm glow. The heavy eyelashes drooped softly on the pure cheek—the head was turned a little to one side, as if in natural sleep, but there was diffused over every lineament of the face that high celestial expression—that mingling of rapture and repose, which showed it was no earthly or temporary sleep, but the long, sacred rest which “He giveth to his beloved.”

There is no death to such as thou, dear Eva! neither darkness nor shadow of death—only such a bright fading as when the morning star fades in the golden dawn. Thine is the victory without the battle—the crown without the conflict.

So did St. Clare think?[1] as with folded arms he stood there gazing? Ah! who shall say what he did think! for from the hour that voices had said in the dying chamber, “she is gone,” it had been all a dreary mist—a heavy “dimness of anguish.” He had heard voices around him—he had had questions asked, and answered them—they had asked him when he would have the funeral, and where they should lay her, and he had answered impatiently that he cared not.

Adolph and Rosa had arranged the chamber—volatile, fickle, and childish, as they generally were, they were soft-hearted and full of feeling; and while Miss Ophelia presided over the general details of order and neatness, it was their hands that added those soft, poetic touches to the arrangements, that took from the death room the grim and ghastly air which too often marks a New England funeral.

There were still flowers on the shelves—all white, delicate, and fragrant, with graceful, drooping leaves. Eva’s little table, draped in white, bore on it her favorite vase, with a single white moss rose-bud in it. The folds of the drapery, the fall of the curtains, had been arranged and re-arranged by Adolph and Rosa with that nicety of eye which characterizes their race. Even now, while St. Clare stood there thinking, little Rosa tipped[2] softly into the chamber with a basket of white flowers. She stepped back when she saw St. Clare, and stopped respectfully; but seeing that he did not observe her, she came forward to place them around the dead. St. Clare saw her as in a dream, while she placed in the small hands a fair cape jessamine, and with admirable taste disposed other flowers around the couch.

The door opened again, and Topsy, her eyes swelled with crying, appeared, holding something under her apron. Rosa made a quick, forbidding gesture, but she took a step into the room.

“You must go out,” said Rosa, in a sharp, positive whisper; “you haven’t any business here.”

“Oh, do let me! I brought a flower! such a pretty one,” said Topsy, holding up a half-blown tea rose-bud. “Do let me put just one there.”

“Get along,” said Rosa, more decidedly.

“Let her stay!” said St. Clare, suddenly stamping his foot. “She shall come.”

Rosa suddenly retreated, and Topsy came forward and laid her offering at the feet of the corpse; then suddenly, with a wild and bitter cry, she threw herself on the floor alongside the bed, and wept and moaned aloud.

Miss Ophelia hastened into the room, and tried to raise and silence her, but in vain.

“Oh, Miss Eva! oh, Miss Eva! I wish I’s dead, too; I do.”

There was a piercing wildness in the cry; the blood flushed into St. Clare’s white, marble-like face, and the first tears he had shed since Eva died stood in his eyes.

“Get up, child,” said Miss Ophelia, in a softened voice; “don’t cry so. Miss Eva is gone to heaven; she is an angel.”

“But I can’t see her!” said Topsy. “I never shall see her!” and she sobbed again.

They all stood a moment in silence.

She said she loved me,” said Topsy; “she did! Oh, dear! oh, dear! there aint nobody left now—there aint!”

“That’s true enough,” said St. Clare; “but do,” he said to Miss Ophelia, “see if you can’t comfort the poor creature.”

“I jist wish I hadn’t never been born,” said Topsy. “I didn’t want to be born, no ways; and I don’t see no use on’t.”

Miss Ophelia raised her gently, but firmly, and took her from the room; but as she did so, some tears fell from her eyes.

“Topsy, you poor child,” she said, as she led her into her room, “don’t give up; I can love you, though I am not like that dear, little child. I hope I’ve learnt something of the love of Christ from her. I can love you—I do, and I’ll try to help you to grow up a good, Christian girl.”

Miss Ophelia’s voice was more than her words, and more than that were the honest tears that fell down her face. From that hour she acquired an influence over the mind of the destitute child that she never lost.

“Oh, my Eva, whose little hour on earth did so much of good,” thought St. Clare, “what account have I to give for my long years?”

There were for a while soft whisperings and foot-falls in the chamber, as one after another stole in to look at the dead; and then came the little coffin; and then there was a funeral, and carriages drove to the door, and strangers came and were seated; and there were white scarfs and ribbons, and crape bands, and mourners dressed in black crape; and there were words read from the Bible, and prayers offered; and St. Clare lived, and walked, and moved, as one who has shed every tear—to the last he saw only one thing, that golden head in the coffin; but then, he saw the cloth spread over it, the lid of the coffin closed; and he walked, when he was put beside the others, down to a little place at the bottom of the garden, and there, by the mossy seat where she and Tom had talked, and sung, and read so often, was the little grave. St. Clare stood beside it—looked vacantly down; he saw them lower the little coffin, he heard, dimly, the solemn words, “I am the resurrection and the Life; he that believeth in me, though he were dead, yet shall he live;” and as the earth was cast in and filled up the little grave, he could not realize that it was his Eva that they were hiding from his sight.

Nor was it—not Eva, but only the frail seed of that bright immortal form with which she shall yet come forth in the day of the Lord Jesus!

And then all were gone, and the mourners went back to the place which should know her no more, and Marie’s room was darkened, and she lay on the bed, sobbing and moaning in uncontrollable grief, and calling every moment for the attentions of all her servants. Of course they had no time to cry—why should they? the grief was her grief, and she was fully convinced that nobody on earth did, could, or would feel it as she did.

“St. Clare did not shed a tear; he didn’t sympathize with her; it was perfectly wonderful to think how hard-hearted and unfeeling he was, when he must know how she suffered.

So much are people the slave of their eye and ear, that many of the servants really thought that missis was the principal sufferer in the case, especially as Marie began to have hysterical spasms, and sent for the doctor, and at last declared herself dying; and in the running and scampering and bringing up hot bottles, and heating of flannels, and chafing, and fussing, that ensued, there was quite a diversion.

Tom, however, had a feeling at his own heart, that drew him to his master. He followed him wherever he walked, wistfully and sadly; and when he saw him sitting so pale and quiet in Eva’s room, holding before his eyes her little open Bible, though seeing no letter or word of what was in it, there was more sorrow to Tom in that still, fixed, tearless eye, than in all Marie’s moans and lamentations.

In a few days the St. Clare family were back again in the city—Augustine, with the restlessness of grief, longing for another scene, to change the current of his thoughts. So they left the house and garden, with its little grave, and came back to New Orleans; and St. Clare walked the streets busily, and strove to fill up the chasm in his heart with hurry and bustle and change of place; and people who saw him in the street, or met him at the coffee-house,[3] knew of his loss only by the weed on his hat; for there he was, smiling and talking, and reading the newspaper, and speculating on politics, and attending to business matters; and who could see that all this smiling outside was but a hollowed[4] shell over a heart that was a dark and silent sepulchre?

“Mr. St. Clare is a singular man,” said Marie to Miss Ophelia, in a complaining tone. “I used to think, if there was anything in the world he did love, it was our dear little Eva; but he seems to be forgetting her very easily. I cannot ever get him to talk about her. I really did think he would show more feeling!”

“Still waters run deepest, they used to tell me,” said Miss Ophelia, oracularly.

“Oh, I don’t believe in such things; it’s all talk. If people have feeling, they will show it, they can’t help it; but, then, it’s a great misfortune to have feeling. I’d rather have been made like St. Clare. My feelings prey upon me so.”

“Sure, missis, mass’r St. Clare is gettin[5] thin as a shader. They say he don’t never eat nothin,” said Mammy. “I know he don’t forget Miss Eva; I know there couldn’t nobody—dear, little, blessed cretur,” she added, wiping her eyes.

“Well, at all events, he has no consideration for me,” said Marie; “he hasn’t spoken one word of sympathy, and he must know how much more a mother feels than any man can.”

“The heart knoweth its own bitterness,” said Miss Ophelia, gravely.

“That’s just what I think. I know just what I feel—nobody else seems to. Eva used to, but she is gone;” and Marie lay back on her lounge, and began to sob disconsolately.

Marie was one of those unfortunately constituted mortals in whose eyes whatever is lost and gone assumes a value which it never had in possession. Whatever she had, she seemed to survey only to pick flaws in it; but once fairly away, there was no end to her valuation of it.

While this conversation was taking place in the parlor, another was going on in St. Clare’s library.

Tom, who was always uneasily following his master about, had seen him go to his library some hours before; and, after vainly waiting for him to come out, determined at last to make an errand in. He entered softly. St. Clare lay on his lounge, at the farther end of the room. He was lying on his face, with Eva’s Bible open before him at a little distance. Tom walked up, and stood by the sofa. He hesitated; and, while he was hesitating, St. Clare suddenly raised himself up. The honest face, so full of grief, and with such an imploring expression of affection and sympathy, struck his master. He laid his hand on Tom’s, and bowed down his forehead on it.

“Oh, Tom, my boy, the whole world is as empty as an egg shell.”

“I know it, mass’r—I know it,” said Tom; “but, oh, if mass’r could only look up—up where our dear Miss Eva is—up to the dear Lord Jesus.”

“Ah, Tom, I do look up; but the trouble is, I don’t see anything when I do. I wish I could.”

Tom sighed heavily.

“It seems to be given to children, and poor, honest fellows like you, to see what we can’t,” said St. Clare. “How comes it?”

“Thou hast ‘hid from the wise and prudent, and revealed unto babes,’ ” murmured Tom; “ ‘even so, Father, for so it seemed good in Thy[6] sight.’ ”

“Tom, I don’t believe—I can’t believe—I’ve got the habit of doubting,” said St. Clare. “I want to believe this Bible—and I can’t.”

“Dear massa, pray to the good Lord—‘Lord, I believe, help thou my unbelief.’ ”

“Who knows anything about anything,” said St. Clare, his eyes wandering dreamily, and speaking to himself. “Was all that beautiful love and faith only one of the ever-shifting phases of human feeling, having nothing real to rest on, passing away with the little breath? And is there no more Eva—no heaven—no Christ—nothing?”

“Oh, dear mass’r, there is. I know it; I’m sure of it,” said Tom, falling on his knees. “Do, do, dear mass’r, believe it.”

“How do you know there’s any Christ, Tom? You never saw the Lord.”

“Felt Him in my soul, mass’r; feel Him now. Oh, mass’r, when I was sold away from my old woman and the children, I was jest a’most broke up. I felt as if there warn’t nothin left; and then the good Lord he stood by me, and he says, ‘Fear not, Tom;’ and he brings light and joy into a poor feller’s soul—makes all peace; and I’s so happy, and loves everybody, and feels willin jest to be the Lord’s, and have the Lord’s will done, and be put jest where the Lord wants to put me. I knew it couldn’t come from me, cause I’s a poor, complainin cretur; it comes from the Lord; and I know He’s willin to do for mass’r.”

Tom spoke with fast-running tears and choking voice. St. Clare leaned his head on his shoulder, and wrung the hard, faithful, black hand.

“Tom, you love me,” he said.

“I’s willin to lay down my life this blessed day, to see mass’r a Christian.”

“Poor, foolish boy,” said St. Clare, half-raising himself. “I’m not worth the love of one good, honest heart like yours.”

“Oh, mass’r, dere’s more than me loves you the blessed Lord Jesus loves you.”

“How do you know that, Tom?” said St. Clare.

“Feels it in my soul. Oh, mass’r! ‘the love of Christ that passeth knowledge!’ ”

“Singular!” said St. Clare, turning away, “that the story of a man that lived and died eighteen hundred years ago can affect people so yet. But he was no man,” he added, suddenly. “No man ever had such long and living power! Oh, that I could believe what my mother taught me, and pray as I did when I was a boy!”

“If mass’r pleases,” said Tom, “Miss Eva used to read this so beautifully. I wish mass’r’d be so good as read it. Don’t get no readin hardly, now Miss Eva’s gone.”

The chapter was the eleventh of John—the touching account of the raising of Lazarus. St. Clare read it aloud, often pausing to wrestle down feelings which were roused by the pathos of the story. Tom knelt before him with clasped hands, and with an absorbed expression of love, trust, adoration, on his quiet face.

“Tom,” said his master, “this is all real to you!”

“I can jest fairly see it, mass’r,” said Tom.

“I wish I had your eyes, Tom.”

“I wish to the dear Lord mass’r had.”

“But, Tom, you know that I have a great deal more knowledge than you; what if I should tell you that I don’t believe this Bible?”

“Oh, mass’r!” said Tom, holding up his hands with a deprecating gesture.

“Wouldn’t it shake your faith some, Tom?”

“Not a grain,” said Tom.

“Why, Tom, you must know I know the most.”

“Oh, mass’r, haven’t you jest read how he hides from the wise and prudent and reveals unto babes? But mass’r wasn’t in earnest, for sartin, now?” said Tom, anxiously.

“No, Tom, I was not. I don’t disbelieve, and I think there is reason to believe; and still I don’t. It’s a troublesome bad habit I’ve got, Tom.”

“If mass’r would only pray.”

“How do you know I don’t, Tom?”

“Does mass’r?”

“I would, Tom, if there was anybody there when I pray; but it’s all speaking unto nothing when I do. But come, Tom, you pray now, and show me how.”

Tom’s heart was full; he poured it out in prayer like waters that have been long suppressed. One thing was plain enough: Tom thought there was somebody to hear whether there were or not. In fact, St. Clare felt himself borne on the tide of his faith and feeling almost to the gates of that Heaven he seemed so vividly to conceive. It seemed to bring him nearer to Eva.

“Thank you, my boy,” said St. Clare, when Tom rose. “I like to hear you, Tom; but go, now, and leave me alone; some other time I’ll talk more.”

Tom silently left the room.

[to be continued.]

 

Notes

This Stowe Center edition reproduces the National Era serial text of Uncle Tom’s Cabin. The wording of the newspaper in many cases differs from publisher John P. Jewett’s first edition. At the conclusion of each installment, notes are provided on a small selection of textual variants, those which have the greatest interpretive significance. The model for these notes is editor John Bryant’s concept of fluid-text editing, which foregrounds the interpretation of textual variants as an act of critical reading. Readers who hold alternate interpretations are encouraged to submit comments to the blog. For general comments on the text and the bibliography, see the Note on the Text.

Note 1

St. Clare think? as with folded | Era pg. 197
St. Clare think, as, with folded | Jewett (1852) vol. 2, pg. 114

In the Era, the narrator characterizes Augustine St. Clare’s thought with two rhetorical questions and an exclamation. In addition to this question mark, a question mark follows “gazing,” and an exclamation mark follows “think.” In the Jewett edition, a comma follows “think”; a period follows “gazing”; and a question mark follows “think.”

In the serial version, the trustworthiness of the previous narrative description is linked to the “dreamy mist” that envelopes St. Clare’s thought after Eva St. Clare’s death. The serial punctuation indicates that St. Clare’s thoughts, as he stands in the room with the body of his deceased daughter, are unknowable to the narrator and thus unknowable to the reader. After Stowe’s revision for the Jewett text, some doubt about St. Clare’s thought remains, but the source for the doubt is the “dreamy mist” of grief. The trustworthiness or reliability of the narrator is no longer in question in the Jewett edition.

As a consequence, the St. Clare in the serial version is unlikely to recognize that Eva’s death is a sign that she is God’s beloved or that “There is no death to such as thou.” According to serial punctuation, St. Clare is an unbeliever. In the Jewett edition, the moment of Eva’s death may convince him briefly of Christian truth, but he on later reflection, with some distance from immediate grief, will return to his unbelief. Also see note 4. [Back]

Note 2

little Rosa tipped softly into | Era pg. 197
little Rosa tripped softly into | Jewett (1852) vol. 2, pg. 115

The Era phrase “tipped softly” and the Jewett phrase “tripped softly” have basically the same sense, to move lightly. Both also have the secondary connotation of moving quickly. Stowe uses forms of “trip” including “tripping” and “tripped” elsewhere, but this use of “tipped” is unique, so the Era form is probably a typesetting error while the Jewett edition form is probably an authorial correction.

Other instances of probable correction in the Jewett edition include the replacement of the serial form “it ’sall” in phrase “it ’sall talk” with “it ’s all”; the use of question mark after question “why should they?” (serial has semicolon); the insertion of word “a” in phrase “into a poor feller’s soul” (serial lacks “a”); and the correction of obviously faulty “kefore” in “knelt kefore him” with “knelt before him.” These four errors, presumably typesetting faults, are corrected silently in the Stowe Center text. [Back]

Note 3

at the coffee-house, knew of | Era pg. 197
at the café, knew of | Jewett (1852) vol. 2, pg. 119

In the Era, St. Clare visits “the coffee-house.” In the Jewett edition, he visits “the café.” St. Clare during another visit to “a café” in the Era’s 25 December installment will be stabbed. In the Era, the 11 December “coffee-house” and the 25 December “café” might be considered identical establishments by readers who are aware that New Orleans is bilingual. Readers who speak only English might assume that the anglicized and gallic forms indicate different places. Stowe by the Jewett edition revision indicates that both establishments are presumably the same one, and she does not rely on reader to translate English coffee-house to French café.

Stowe in a number of cases indicates that her upper-class characters speak French, but Stowe’s lower-class characters, including most black characters, are generally presumed unable to speak or understand French. The attention to varying knowledge of French is almost certainly conscious on Stowe’s part, but she seems not to imagined that speakers identified racially as black (aside from mixed race characters) could also speak French. [Back]

Note 4

but a hollowed shell over | Era pg. 197
but a hollowed shell over | Jewett (1852), uncorrected, vol. 2, pg. 119
but a hollow shell over | Jewett (1852), corrected, vol. 2, pg. 119

In the Era, grief for his daughter’s death has “hollowed” St. Clare’s interior, but his smiling exterior hides the absence. On the basis of the word “hollowed,” perceptive observers like Mammy realize that Eva’s death has removed the man’s interior heart. In the initial printing of the Jewett edition, the serial form is repeated. In corrected printings of the Jewett edition, a “hollow shell” is what St. Clare remains. Michael Winship in the Bibliography of American Literature recorded the correction of the Jewett edition stereotype plates (19343). Also see note 1. [Back]

Note 5

Clare is gettin thin as | Era pg. 197
Clare is gettin’ thin as | Jewett (1852) vol. 2, pg. 119

In the Era, unvoiced letters, such as terminal “g” in dialect pronunciation of “-ing,” are not marked with apostrophes in Mammy’s speech or in Tom’s speech. In the Jewett edition, the absence of terminal “g” is consistently marked. Therefore, “nothin” becomes “nothin’ ” (2 times); “willin” becomes “willin’ ” (3 times); “complainin” becomes “complainin’ ”; and “readin” becomes “readin’.” The Era more closely reflects Stowe’s manuscript forms, and the Jewett edition forms with the apostrophe probably represent compositor and proofreader efforts to correct spelling. The unpronounced letters are marked by an apostrophe to indicate that aural pronunciation does not match usual spelling. [Back]

Note 6

good in Thy sight.’ ” ¶ “Tom, | Era pg. 197
good in thy sight.’ ” ¶ “Tom, | Jewett (1852) vol. 2, pg. 121

In the Era, Tom’s quotation of Matthew 11:24 includes the capitalized “Thy” to refer to the deity. In the Jewett edition, “thy” is printed in lower-case form. In quotations from scripture and in other references to the Christian deity, the Era text capitalizes more consistently. In the Jewett edition, many references to the deity are printed with lower-case pronouns. The serial is probably closer to Stowe’s manuscript, and the Jewett edition lower-case forms are probably attributable to printer George C. Rand’s compositors or John P. Jewett’s editors.

In a related matter in this installment, St. Clare refers to “heaven” with lower-case form but refers to Tom’s conception of it as “Heaven” with the capitalized form. In the Jewett edition, the lower-case form is used in both cases. [Back]

Copyright 2011. For introduction and annotation, all rights reserved. The text is distributed under a Creative Commons License. Creative Commons License Uncle Tom’s Cabin: National Era by Harriet Beecher Stowe is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License. Permissions beyond the scope of this license may be available at Copyright Commons License.

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