[3] In my capacity of Bushwhacker, I make it a matter of business to laugh whenever I feel like it. I felt like it when, on reading the above, this parallelism occurred to me: the hero of the “Miserables”—Jean Valjean—is a thief. Now, holds our author, whenever a man is so unfortunate as to be a thief, no blame should be attached to him,—and he puts it about thus: “A thief is not a thief. Nor a crime. He is a product. A fact. A titanic fact. A thief is a man who hears the cry of a child. It is his child. It is a cry for bread. Society gives him a stone. Effacement of his rectitude. He appropriates society’s wallet. And serves society right; for ’tis society has made him a thief.” Leaving to some coming man the task and the credit of removing from society all stain, by discovering who or what made society a thief-maker, ’tis this that moved my Bushwhackerish soul to smile: this Jean Valjean, whom society is so wicked in producing, turns out to be a better man than any other man ever was, is, or shall be. So we, under our very sinful system, would seem to have prepared for the elective franchise a whole people lately buried in heathenism, without, as it were, half trying. Nor does this claim rest merely upon that braggartism so peculiarly Southern. The very best people on the other side—nay, the people who, by their own admission, embrace all the culture and virtue of the country—have been the first to give us this meed of praise,—yet it is notorious that very few white men are yet, with all their Bacons, and Sydneys, and Hampdens, and Jeffersons to enlighten them, qualified for that august function. Nay, even in France herself, though she is, as Victor Hugo says,—and he should know,—the mother and the father, and the uncle and the aunt, and the brother and the sister of civilization, I believe there are Frenchmen not yet fitted to wield the ballot,—among whom, I doubt not, some profane persons would make so bold as to class the illustrious rhapsodist himself.

CHAPTER XXIX.

“Git out o’ de way, you niggers! Aint y’ all got no manners? Git out o’ Marse Billy way! I declar’ fo’ Gaud niggers ain’t got no manners dese days. Tain’t like it used to be. Y’ all gittin’ wuss and wuss.”

So saying, Aunt Polly made an unceremonious opening among the eager heads of the youngsters that were thrust into the door-way; and Billy pressed laughing through the throng, nodding here and there as he passed. His arrival was hailed with beaming smiles by the ladies, and an almost uproarious welcome by the gentlemen. The Don had already opened his heart to him before he had gotten within introducing distance, charmed by his frank and manly bearing, his hearty manner with the gentlemen, his gentle deference to each lady in turn. So Billy’s sunny face, his cordial rushing hither and thither to greet his friends, his cheery laugh as he exchanged a bright word here and there,—a laugh that revealed a set of powerful and large, though well-shaped teeth,—all this had lighted up the thoughtful face of the Don with a sympathetic glow,—a glow that vanished when, on their being introduced, Billy’s fist closed upon his hand.

Mr. Billy was always a great favorite with me. Indeed, I like to think of him as a kind of ideal young Virginian of those days,—so true, and frank, and cordial, and unpretending. But there is one thing—I have mentioned it above—that, as a historian, I am bound to confess: Billy was addicted to playing on the fiddle.

“So, young ladies,” said my grandfather (for whose annual tunes no one, somehow, had thought of calling), “you will have a fiddle to dance by, after all.” A remark that elicited a joyous clapping of hands; and there was a general stir for partners.

“Dares any man to speak to me of fiddling,” said Billy, “before I have punished a few dozen of these bivalves?”

“That’s right, Billy! Dick, some oysters for Mr. Jones! They were never better than this season!”

Billy passed into the next room, where Dick and his spouse began to serve him with hospitable zeal.

“How was she, Marse Billy?”