There is a great temptation to regard New Orleans through the romance of its past; and the most interesting occupation of the idler is to stroll about in the French part of the town, search the shelves of French and Spanish literature in the second-hand book-shops, try to identify the historic sites and the houses that are the seats of local romances, and observe the life in the narrow streets and alleys that, except for the presence of the colored folk, recall the quaint picturesqueness of many a French provincial town. One never tires of wandering in the neighborhood of the old cathedral, facing the smart Jackson Square, which is flanked by the respectable Pontalba buildings, and supported on either side by the ancient Spanish courthouse, the most interesting specimens of Spanish architecture this side of Mexico. When the court is in session, iron cables are stretched across the street to prevent the passage of wagons, and justice is administered in silence only broken by the trill of birds in the Place d’.rmee and in the old flower-garden in the rear of the cathedral, and by the muffled sound of footsteps in the flagged passages. The region is saturated with romance, and so full of present sentiment and picturesqueness that I can fancy no ground more congenial to the artist and the story-teller. To enter into any details of it would be to commit one’s self to a task quite foreign to the purpose of this paper, and I leave it to the writers who have done and are doing so much to make old New Orleans classic.
Possibly no other city of the United States so abounds in stories pathetic and tragic, many of which cannot yet be published, growing out of the mingling of races, the conflicts of French and Spanish, the presence of adventurers from the Old World and the Spanish Main, and especially out of the relations between the whites and the fair women who had in their thin veins drops of African blood. The quadroon and the octoroon are the staple of hundreds of thrilling tales. Duels were common incidents of the Creole dancing assemblies, and of the cordon bleu balls—the deities of which were the quadroon women, “the handsomest race of women in the world,” says the description, and the most splendid dancers and the most exquisitely dressed—the affairs of honor being settled by a midnight thrust in a vacant square behind the cathedral, or adjourned to a more French daylight encounter at “The Oaks,” or “Les Trois Capalins.” But this life has all gone. In a stately building in this quarter, said by tradition to have been the quadroon ball-room, but I believe it was a white assembly-room connected with the opera, is now a well-ordered school for colored orphans, presided over by colored Sisters of Charity.
It is quite evident that the peculiar prestige of the quadroon and the octoroon is a thing of the past. Indeed, the result of the war has greatly changed the relations of the two races in New Orleans. The colored people withdraw more and more to themselves. Isolation from white influence has good results and bad results, the bad being, as one can see, in some quarters of the town, a tendency to barbarism, which can only be counteracted by free public schools, and by a necessity which shall compel them to habits of thrift and industry. One needs to be very much an optimist, however, to have patience for these developments.
I believe there is an instinct in both races against mixture of blood, and upon this rests the law of Louisiana, which forbids such intermarriages; the time may come when the colored people will be as strenuous in insisting upon its execution as the whites, unless there is a great change in popular feeling, of which there is no sign at present; it is they who will see that there is no escape from the equivocal position in which those nearly white in appearance find themselves except by a rigid separation of races. The danger is of a reversal at any time to the original type, and that is always present to the offspring of any one with a drop of African blood in the veins. The pathos of this situation is infinite, and it cannot be lessened by saying that the prejudice about color is unreasonable; it exists. Often the African strain is so attenuated that the possessor of it would pass to the ordinary observer for Spanish or French; and I suppose that many so-called Creole peculiarities of speech and manner are traceable to this strain. An incident in point may not be uninteresting.
I once lodged in the old French quarter in a house kept by two maiden sisters, only one of whom spoke English at all. They were refined, and had the air of decayed gentlewomen. The one who spoke English had the vivacity and agreeability of a Paris landlady, without the latter’s invariable hardness and sharpness. I thought I had found in her pretty mode of speech the real Creole dialect of her class. “You are French,” I said, when I engaged my room.
“No,” she said, “no, m’sieu, I am an American; we are of the United States,” with the air of informing a stranger that New Orleans was now annexed.
“Yes,” I replied, “but you are of French descent?”
“Oh, and a little Spanish.”
“Can you tell me, madame,” I asked, one Sunday morning, “the way to Trinity Church?”
“I cannot tell, m’sieu; it is somewhere the other side; I do not know the other side.”