I found it impossible to sleep. The feverish state of the atmosphere, and the tumult around me, scared the drowsy god from my pillow—[I had no pillow by the way, but made my great coat serve as a substitute for one.] The thundering and crashing of the engine,—the dashing of the paddles in the water—the stamping of feet above our heads—the uproar of many voices, heard at intervals when some order was given to the crew—the banging of the wood upon the planks, at it was transferred from the pile to the engine-room—the rumbling of ballast-boxes, as they were occasionally transferred from side to side, for the purpose of trimming the steamer—the harsh rattling of the tackle, as a boat was lowered, to land or take off passengers by a tow line,1 and the simultaneous rush to the gangway of those who were to go on shore, while the subtile fluid which gave motion to our floating caravan, being partially restrained, emitted a wheezing and uncomfortable sound.
1 This method of landing and taking off passengers was practised for many years on the Hudson, but finally abolished by law, on account of its risks, several fatal accidents having been caused by it. The steamer was not brought to during the operation; but a tow line attached to the small boat, was out from the steamer, and drawn in by the machinery with great velocity.
But who shall describe the varied and terrific music of the steam engine? I do not attempt it, not doubting that in the march of improvement, the poet will hereafter make it a special theme; and that some American Mayerbeer or Mozart, will consider the composition of a passage by steam from Albany to New York, as affording facilities for expression and contrast, equally sublime with the March in Saul or the Battle of Prague.—Occasionally we came to a dead stop at some principal landing place. For a moment the engine was hushed, as silent as death; then a feeble whistle was heard from the steam pipe, (sweet, shrill and almost plaintive,) followed by a roar of the imprisoned element, fiercely exulting at its recovered liberty, as it was let off from the engine, and rushing forth with such gigantic impulse as to shake every timber in the vessel.—Gradually the roar subsides; slowly, slowly, until a humming sound succeeds, as though all the bees of Hybla were swarming around our heads. Suddenly it ceases, and for a moment the steam is silent. Then again, the hoarse thunder of the machinery commences, the paddles dash the water from beneath them, with giant strides, and the motion of the vessel is distinctly felt, as she rushes onward in her course.
Such were the sounds above which afforded to the hundreds of sleepers a discordant lullaby, sufficiently hostile to repose, one would think, to drive slumber from the eyelids of Somnus himself. But all this "mortal pudder o'er our heads," was less distracting than the concert of discords which was in a coarse of performance immediately around me, comparatively, it is true, in a minor key.—One hundred and fifty wind instruments of various constructions and dimensions, were playing ad-libitum, in every diversity of tone and time, concertos, fantasias and airs, which breathed of any thing but heaven. Here could be heard the mournful strain of a proboscis which seemed attuned to melancholy—there, the fierce blast of a nostril which emulated the magic horn of the wild huntsman; while in ludicrous contrast, hard-by were heard the stifled eruptions of a snout, which might have been taken for the rehearsals of an inexperienced porker. One drew in his breath with a painful squeel and a low whistle, and puffed it forth as he would have done in extinguishing a candle—another, began in a gentle strain, "like the sweet south, breathing upon a bed of violets"—gradually rising to a full and manly tone—still gaining strength as it advanced—now louder and more rapid—dashing onward with alarming impetuosity—louder, louder still; and now, the very brink of this musical cataract having been reached—a crash ensues, like the termination of that terrific passage in the overture to Der Freyschutz, which almost freezes the blood. The explosion past, this fantastic nose commenced again its tender strains, and again rose to its climax. Another rolled forth a heavy bass, deep, solemn and monotonous, like the muttering of distant thunder, or the roar of the vexed ocean heaving its waves on the shore after a storm. Another, with teeth compressed, seemed to draw in breath repeatedly without respiration, and suddenly to disembogue this over supply of air with a single emphatic snort, which threw his mouth open to its full extent. Some squeeled continuously; some groaned; and others whistled through their mouths in drawing in breath, and through their noses, in respiring it.
It will not be wondered that I could not sleep, yet my fellow travellers seemed unannoyed. I fell into a train of profound thought upon the causes of the various cadences of different noses, and puzzled myself upon the shapes and dimensions suitable to produce certain simple or compound tones in the concert. In following out these reflections, I wondered what description of music I must make myself, and could not but wish to hear myself snore—(a thing I believe impossible.) I could not avoid handling my own nose, to fix according to my imperfect theory, the extent and character of its musical capacity. By an association of ideas, the consideration of this question brought back to my mind the prophecy of aunt Deborah. I pondered upon it until the reflections which it suggested became painful. I endeavored to banish it from my thoughts, but could not entirely succeed. After a considerable time, I fell into a kind of snooze—a state which was neither absolute sleeping or waking—a kind of conscious unconsciousness, partaking of both in nearly equal degrees. Visions of imaginary objects glanced before me, which seemed to partake of or to be blended with the scene and sounds around me. Dim figures came and went between me and the lamp, hanging at the extremity of the cabin, on which my eye was fixed. Among these beings my aunt Deborah two or three times made her appearance; her starch'd cap, peaked nose, and keen grey eye, were not to be mistaken. I could identify even her tortoise snuff-box, which seemed as new as when I saw it ten years ago. Her look was rigid and menacing, and seemed to bode me no good—for I dreaded a lecture. These objects were the materials of dreams:—active thought and volition had nothing to do with their production. Yet my eyes were open,—my senses were awake. I could see and mark the motion of the red curtains, swinging to and fro—I still heard the unwearied nasal minstrelsey to which I have alluded, as distinctly as before.
The philosophers, I believe, have explained this contradictory state of the body and mind. I fear I have not described it so as to make myself clearly understood; but I am no philosopher, unless it be a laughing one. Those who have experienced a visitation of the "night mare," will I presume, comprehend my meaning.—I am not aware that this state of things had ceased, but believe the combat between real and unreal impressions was still going on in my mind, when I plainly perceived two large, gaunt blackamoors (whom I well remembered to have seen when at home in Richmond, pursuing their daily toil in Myers's tobacco factory,) descend the cabin stairs, and approach the spot where I lay. The obstacles of a crowded room did not seem to impede them; and I soon felt their iron grasp on my limbs. I was lifted by them from my pallet, and borne, I know not how, up the stairs, past the engine, to the forward deck. I endeavored from the moment they laid hands on me, to struggle with them; but my limbs were powerless: I endeavored to call out, and awaken my fellow lodgers; but my voice had lost its sound, my tongue seemed paralyzed: I could not articulate a syllable. The cold sweat of terror stood upon my brow. I had a presentiment that some awful fate awaited me, but I could form no conception what it was to be.
At the place where they halted in their progress, I saw a huge grindstone, from behind which a little black urchin leaped up, and seizing the handle, commenced turning it with surprising velocity, looking into my face and laughing with that hearty glee so peculiar to the cachinations of his race. I knew the imp too well, for I had seen him in his tatters an hundred times, hopping the gutters in front of the Eagle Hotel. A horrible consciousness of my fate now flashed upon me. The prophesy of my aunt Deborah came into my mind, and I felt that it was to be fulfilled. I cast my eyes around me in despair, when they fell upon the figure of the old lady herself, standing upon the prow of the vessel. Her look was severe and reproachful. The finger of her right hand was uplifted, as if she would have said, "I have warned you in vain!"—while her left hand conveyed a pinch of snuff to her nostrils, which they received with an inspiration so keen that it hissed in my ears like hot iron. My glance at this figure was but momentary. Scarce had the imp commenced turning the instrument upon which I had now become aware that I was to be tortured, when the Titans in whose gripe I was held, forced my head downward, until my proboscis rested upon the revolving stone, and I felt its horrid inroads upon that sensitive member. The first excoriation was severe. I writhed and struggled to free myself, but the power which held me was indomitable. Gradually the urchin relaxed in the rapidity of his motions—the stone revolved slowly, and I saw that my torment was to be a lingering one.
In the midst of their task the inhuman wretches began to chaunt songs and incantations adapted to the horrid ceremony. I remember some snatches of the ballads they sung. Never shall I forget them, for the cruel mockery of their fiendish merriment was more galling than the pain I endured, or the awful reflection that I must pass the rest of my days the noseless object of pity and contempt. One of the stanzas ran thus:
| De man who hold he nose too high Mus' be brought low: Put him on de grinstone And grind him off slow. Wheel about, and turn about, And wheel about slow; And every time he wheel about De nose must go. |
I was at no loss to recognize in this a parody on a popular ballad by James Crow, Esquire, very skilfully arranged for the piano-forte by Mr. Zephaniah Coon; and I despised my tormentors the more for their plagiarism and want of originality. At the end of each refrain, the barbarians sent forth as a kind of supplementary chorus, shouts of laughter, which seemed to come from their very souls. It was none of your civilized ha ha's—nor your modish he he's—but the hearty, pectoral yeoh yeoh yeoh of the unsophisticated "nigger."