"Ghosteses, did yer say?" answered the excited woman. "Jes yer come an' look, an' ef yer don't say hit wuss ner ghosteses, yer may count Cynthy a fool. Dat's all."
Berry started down to the gate, Nimbus following him, carelessly.
"Why, hello, Bre'er Nimbus! Yer shore hez got a signboard cross de passway. Jes look a' dat now! What yer 'spect it mout be, cousin?" said Berry, stopping short and pointing to the board hung on the fence.
"'Clar, I dunno," said Nimbus, as he strode forward and leaned over the fence to get a sight of the other side of the board. "'Spec' it must be some of dem Ku Kluck's work, ez Cynthy says."
After examining it a moment, he directed Berry to lift up the other end, and together they carried it to the house of Eliab Hill, where its grotesque characters were interpreted, so far as he was able to translate them, as well as the purport of a warning letter fastened on the board by means of a large pocket-knife thrust through it, and left sticking in the soft wood.
Upon the head of the coffin-shaped board was roughly drawn, in black paint, a skull and cross-bones and, underneath them, the words "Eliab Hill and Nimbus Desmit," and below these still, the mystic cabala, "K.K.K," a formulary at which, just at that time, a great part of the nation was laughing as a capital illustration of American humor. It was accounted simply a piece of grotesquerie intended to frighten the ignorant and superstitious negro.
The old claim of the South, that the colored man could be controlled and induced to labor only by the lash or its equivalent, had many believers still, even among the most earnest opponents of slavery, and not a few of these even laughed good-naturedly at the grotesque pictures in illustrated journals of shadowy beings in horrible masks and terrified negroes cowering in the darkness with eyes distended, hair rising in kinky tufts upon their heads, and teeth showing white from ear to ear, evidently clattering like castanets. It was wonderfully funny to far-away readers, and it made uproarious mirth in the aristocratic homes of the South. From the banks of the Rio Grande to the waters of the Potomac, the lordly Southron laughed over his glass, laughed on the train, laughed in the street, and laughed under his black cowl of weirdly decorated muslin—not so much at the victims of the terrible Klan, as at the silly North which was shaking its sides at the mask he wore. It was an era of fun. Everybody laughed. The street gamins imitated the Kluck, which gave name to the Klan. It was one of the funniest things the world had ever known.
The Yankee—Brother Jonathan—had long been noted as a droll. A grin was as much a part of his stock apparel as tow breeches or a palm-leaf hat. The negro, too, had from time immemorial been portrayed upon the stage and in fiction as an irrepressible and inimitably farcical fellow. But the "Southern gentleman" was a man of different kidney from either of these. A sardonic dignity hedged him about with peculiar sacredness. He was chivalrous and baronial in his instincts, surroundings, and characteristics. He was nervous, excitable, and bloodthirsty. He would "pluck up drowned honor by the locks" and make a target of everyone who laughed. He hunted, fought, gambled, made much of his ancestors, hated niggers, despised Yankees, and swore and swaggered on all occasions. That was the way he was pictured in the ancient days. He laughed—sometimes—not often, and then somewhat sarcastically—but he did not make himself ridiculous. His amour propre was most intense. He appreciated fun, but did not care that it should be at his expense. He was grave, irritable and splenetic; but never comical. A braggart, a rough-rider, an aristocrat; but never a masquerader. That was the old-time idea.
Yet so had the war and the lapse of half a decade changed this people that in one State forty thousand men, in another thirty, in others more and in others less, banded together with solemn oaths and bloody ceremonies, just to go up and down the earth in the bright moonlight, and play upon the superstitious fears of the poor ignorant and undeveloped people around them. They became a race of jesters, moonlight masqueraders, personators of the dead. They instituted clubs and paraded by hundreds, the trained cavalry of a ghostly army organized into companies, battalions, divisions, departments, having at their head the "Grand Wizard of the Empire." It was all in sport—a great jest, or at the worst designed only to induce the colored man to work somewhat more industriously from apprehension of ghostly displeasure. It was a funny thing—the gravest, most saturnine, and self-conscious people on the globe making themselves ridiculous, ghostly masqueraders by the hundred thousand! The world which had lately wept with sympathy for the misfortunes of the "Lost Cause," was suddenly convulsed with merriment at the midnight antics of its chivalric defenders. The most vaunted race of warriors seized the cap and bells and stole also the plaudits showered upon the fool. Grave statesmen, reverend divines, legislators, judges, lawyers, generals, merchants, planters, all who could muster a good horse, as it would seem, joined the jolly cavalcade and rollicked through the moonlight nights, merely to make fun for their conquerors by playing on the superstitious fear of the sable allies of the Northmen. Never before was such good-natured complaisance, such untiring effort to please. So the North laughed, the South chuckled, and the world wondered.
But the little knot of colored men and women who stood around Eliab Hill while he drew out the knife which was thrust through the paper into the coffin-shaped board laid across the front of his "go-cart," and with trembling lips read the message it contained—these silly creatures did not laugh. They did not even smile, and a joke which Berry attempted, fell flat as a jest made at a funeral.