Conceptio › Archive › Project Gutenberg
Project Gutenbergpublic full text

Life on the Mississippi, Part 2.

Twain, Mark, 1835-1910 · Project Gutenberg
Project Gutenberg · Books · License: Public Domain
Open Source ↗
americanauthorsmark
Mississippi River -- Description and travel, Mississippi River Valley -- Social life and customs -- 19th century, Authors, American -- 19th century -- Biography, Pilots and pilotage -- Mississippi River, Twain, Mark, 1835-1910 -- Travel -- Mississippi River

Chapter 9 Before Mr. Bixby could answer, Mr. W—— came in to take the watch, and he said— 'Bixby, you'll have to look out for President's Island and all that country clear away up above the Old Hen and Chickens. The banks are caving and the shape of the shores changing like everything. Why, you wouldn't know the point above 40. You can go up inside the old sycamore-snag, now.{footnote [1. It may not be necessary, but still it can do no harm to explain that 'inside' means between the snag and the shore.—M.T.]} So that question was answered. Here were leagues of shore changing shape. My spirits were down in the mud again. Two things seemed pretty apparent to me. One was, that in order to be a pilot a man had got to learn more than any one man ought to be allowed to know; and the other was, that he must learn it all over again in a different way every twenty-four hours. That night we had the watch until twelve. Now it was an ancient river custom for the two pilots to chat a bit when the watch changed. While the relieving pilot put on his gloves and lit his cigar, his partner, the retiring pilot, would say something like this— 'I judge the upper bar is making down a little at Hale's Point; had quarter twain with the lower lead and mark twain {footnote [Two fathoms. 'Quarter twain' is two-and-a-quarter fathoms, thirteen-and-a-half feet. 'Mark three' is three fathoms.]} with the other.' 'Yes, I thought it was making down a little, last trip. Meet any boats?' 'Met one abreast the head of 21, but she was away over hugging the bar, and I couldn't make her out entirely. I took her for the "Sunny South"—hadn't any skylights forward of the chimneys.' And so on. And as the relieving pilot took the wheel his partner{footnote ['Partner' is a technical term for 'the other pilot'.]} would mention that we were in such-and-such a bend, and say we were abreast of such-and-such a man's wood-yard or plantation. This was courtesy; I supposed it was necessity. But Mr. W—— came on watch full twelve minutes late on this particular night,—a tremendous breach of etiquette; in fact, it is the unpardonable sin among pilots. So Mr. Bixby gave him no greeting whatever, but simply surrendered the wheel and marched out of the pilot-house without a word. I was appalled; it was a villainous night for blackness, we were in a particularly wide and blind part of the river, where there was no shape or substance to anything, and it seemed incredible that Mr. Bixby should have left that poor fellow to kill the boat trying to find out where he was. But I resolved that I would stand by him any way. He should find that he was not wholly friendless. So I stood around, and waited to be asked where we were. But Mr. W—— plunged on serenely through the solid firmament of black cats that stood for an atmosphere, and never opened his mouth. Here is a proud devil, thought I; here is a limb of Satan that would rather send us all to destruction than put himself under obligations to me, because I am not yet one of the salt of the earth and privileged to snub captains and lord it over everything dead and alive in a steamboat. I presently climbed up on the bench; I did not think it was safe to go to sleep while this lunatic was on watch. However, I must have gone to sleep in the course of time, because the next thing I was aware of was the fact that day was breaking, Mr. W—— gone, and Mr. Bixby at the wheel again. So it was four o'clock and all well—but me; I felt like a skinful of dry bones and all of them trying to ache at once. Mr. Bixby asked me what I had stayed up there for. I confessed that it was to do Mr. W—— a benevolence,—tell him where he was. It took five minutes for the entire preposterousness of the thing to filter into Mr. Bixby's system, and then I judge it filled him nearly up to the chin; because he paid me a compliment—and not much of a one either. He said, 'Well, taking you by-and-large, you do seem to be more different kinds of an ass than any creature I ever saw before. What did you suppose he wanted to know for?' I said I thought it might be a convenience to him. 'Convenience D-nation! Didn't I tell you that a man's got to know the river in the night the same as he'd know his own front hall?' 'Well, I can follow the front hall in the dark if I know it IS the front hall; but suppose you set me down in the middle of it in the dark and not tell me which hall it is; how am I to know?' 'Well you've GOT to, on the river!' 'All right. Then I'm glad I never said anything to Mr. W—— ' 'I should say so. Why, he'd have slammed you through the window and utterly ruined a hundred dollars' worth of window-sash and stuff.' I was glad this damage had been saved, for it would have made me unpopular with the owners. They always hated anybody who had the name of being careless, and injuring things. I went to work now to learn the shape of the river; and of all the eluding and ungraspable objects that ever I tried to get mind or hands on, that was the chief. I would fasten my eyes upon a sharp, wooded point that projected far into the river some miles ahead of me, and go to laboriously photographing its shape upon my brain; and just as I was beginning to succeed to my satisfaction, we would draw up toward it and the exasperating thing would begin to melt away and fold back into the bank! If there had been a conspicuous dead tree standing upon the very point of the cape, I would find that tree inconspicuously merged into the general forest, and occupying the middle of a straight shore, when I got abreast of it! No prominent hill would stick to its shape long enough for me to make up my mind what its form really was, but it was as dissolving and changeful as if it had been a mountain of butter in the hottest corner of the tropics. Nothing ever had the same shape when I was coming downstream that it had borne when I went up. I mentioned these little difficulties to Mr. Bixby. He said— 'That's the very main virtue of the thing. If the shapes didn't change every three seconds they wouldn't be of any use. Take this place where we are now, for instance. As long as that hill over yonder is only one hill, I can boom right along the way I'm going; but the moment it splits at the top and forms a V, I know I've got to scratch to starboard in a hurry, or I'll bang this boat's brains out against a rock; and then the moment one of the prongs of the V swings behind the other, I've got to waltz to larboard again, or I'll have a misunderstanding with a snag that would snatch the keelson out of this steamboat as neatly as if it were a sliver in your hand. If that hill didn't change its shape on bad nights there would be an awful steamboat grave-yard around here inside of a year.' It was plain that I had got to learn the shape of the river in all the different ways that could be thought of,—upside down, wrong end first, inside out, fore-and-aft, and 'thortships,'—and then know what to do on gray nights when it hadn't any shape at all. So I set about it. In the course of time I began to get the best of this knotty lesson, and my self-complacency moved to the front once more. Mr. Bixby was all fixed, and ready to start it to the rear again. He opened on me after this fashion— 'How much water did we have in the middle crossing at Hole-in-the-Wall, trip before last?' I considered this an outrage. I said— 'Every trip, down and up, the leadsmen are singing through that tangled place for three-quarters of an hour on a stretch. How do you reckon I can remember such a mess as that?' 'My boy, you've got to remember it. You've got to remember the exact spot and the exact marks the boat lay in when we had the shoalest water, in everyone of the five hundred shoal places between St. Louis and New Orleans; and you mustn't get the shoal soundings and marks of one trip mixed up with the shoal soundings and marks of another, either, for they're not often twice alike. You must keep them separate.' When I came to myself again, I said— 'When I get so that I can do that, I'll be able to raise the dead, and then I won't have to pilot a steamboat to make a living. I want to retire from this business. I want a slush-bucket and a brush; I'm only fit for a roustabout. I haven't got brains enough to be a pilot; and if I had I wouldn't have strength enough to carry them around, unless I went on crutches.' 'Now drop that! When I say I'll learn {footnote ['Teach' is not in the river vocabulary.]} a man the river, I mean it. And you can depend on it, I'll learn him or kill him.' Chapter 9 Continued Perplexities THERE was no use in arguing with a person like this. I promptly put such a strain on my memory that by and by even the shoal water and the countless crossing-marks began to stay with me. But the result was just the same. I never could more than get one knotty thing learned before another presented itself. Now I had often seen pilots gazing at the water and pretending to read it as if it were a book; but it was a book that told me nothing. A time came at last, however, when Mr. Bixby seemed to think me far enough advanced to bear a lesson on water-reading. So he began— 'Do you see that long slanting line on the face of the water? Now, that's a reef. Moreover, it's a bluff reef. There is a solid sand-bar under it that is nearly as straight up and down as the side of a house. There is plenty of water close up to it, but mighty little on top of it. If you were to hit it you would knock the boat's brains out. Do you see where the line fringes out at the upper end and begins to fade away?' 'Yes, sir.' 'Well, that is a low place; that is the head of the reef. You can climb over there, and not hurt anything. Cross over, now, and follow along close under the reef—easy water there—not much current.' I followed the reef along till I approached the fringed end. Then Mr. Bixby said— 'Now get ready. Wait till I give the word. She won't want to mount the reef; a boat hates shoal water. Stand by—wait—WAIT—keep her well in hand. NOW cramp her down! Snatch her! snatch her!' He seized the other side of the wheel and helped to spin it around until it was hard down, and then we held it so. The boat resisted, and refused to answer for a while, and next she came surging to starboard, mounted the reef, and sent a long, angry ridge of water foaming away from her bows. 'Now watch her; watch her like a cat, or she'll get away from you. When she fights strong and the tiller slips a little, in a jerky, greasy sort of way, let up on her a trifle; it is the way she tells you at night that the water is too shoal; but keep edging her up, little by little, toward the point. You are well up on the bar, now; there is a bar under every point, because the water that comes down around it forms an eddy and allows the sediment to sink. Do you see those fine lines on the face of the water that branch out like the ribs of a fan. Well, those are little reefs; you want to just miss the ends of them, but run them pretty close. Now look out—look out! Don't you crowd that slick, greasy-looking place; there ain't nine feet there; she won't stand it. She begins to smell it; look sharp, I tell you! Oh blazes, there you go! Stop the starboard wheel! Quick! Ship up to back! Set her back! The engine bells jingled and the engines answered promptly, shooting white columns of steam far aloft out of the 'scape pipes, but it was too late. The boat had 'smelt' the bar in good earnest; the foamy ridges that radiated from her bows suddenly disappeared, a great dead swell came rolling forward and swept ahead of her, she careened far over to larboard, and went tearing away toward the other shore as if she were about scared to death. We were a good mile from where we ought to have been, when we finally got the upper hand of her again. During the afternoon watch the next day, Mr. Bixby asked me if I knew how to run the next few miles. I said— 'Go inside the first snag above the point, outside the next one, start out from the lower end of Higgins's wood-yard, make a square crossing and—' 'That's all right. I'll be back before you close up on the next point.' But he wasn't. He was still below when I rounded it and entered upon a piece of river which I had some misgivings about. I did not know that he was hiding behind a chimney to see how I would perform. I went gaily along, getting prouder and prouder, for he had never left the boat in my sole charge such a length of time before. I even got to 'setting' her and letting the wheel go, entirely, while I vaingloriously turned my back and inspected the stem marks and hummed a tune, a sort of easy indifference which I had prodigiously admired in Bixby and other great pilots. Once I inspected rather long, and when I faced to the front again my heart flew into my mouth so suddenly that if I hadn't clapped my teeth together I should have lost it. One of those frightful bluff reefs was stretching its deadly length right across our bows! My head was gone in a moment; I did not know which end I stood on; I gasped and could not get my breath; I spun the wheel down with such rapidity that it wove itself together like a spider's web; the boat answered and turned square away from the reef, but the reef followed her! I fled, and still it followed, still it kept—right across my bows! I never looked to see where I was going, I only fled. The awful crash was imminent—why didn't that villain come! If I committed the crime of ringing a bell, I might get thrown overboard. But better that than kill the boat. So in blind desperation I started such a rattling 'shivaree' down below as never had astounded an engineer in this world before, I fancy. Amidst the frenzy of the bells the engines began to back and fill in a furious way, and my reason forsook its throne—we were about to crash into the woods on the other side of the river. Just then Mr. Bixby stepped calmly into view on the hurricane deck. My soul went out to him in gratitude. My distress vanished; I would have felt safe on the brink of Niagara, with Mr. Bixby on the hurricane deck. He blandly and sweetly took his tooth-pick out of his mouth between his fingers, as if it were a cigar—we were just in the act of climbing an overhanging big tree, and the passengers were scudding astern like rats—and lifted up these commands to me ever so gently— 'Stop the starboard. Stop the larboard. Set her back on both.' The boat hesitated, halted, pressed her nose among the boughs a critical instant, then reluctantly began to back away. 'Stop the larboard. Come ahead on it. Stop the starboard. Come ahead on it. Point her for the bar.' I sailed away as serenely as a summer's morning Mr. Bixby came in and said, with mock simplicity— 'When you have a hail, my boy, you ought to tap the big bell three times before you land, so that the engineers can get ready.' I blushed under the sarcasm, and said I hadn't had any hail. 'Ah! Then it was for wood, I suppose. The officer of the watch will tell you when he wants to wood up.' I went on consuming and said I wasn't after wood. 'Indeed? Why, what could you want over here in the bend, then? Did you ever know of a boat following a bend up-stream at this stage of the river?' 'No sir,—and I wasn't trying to follow it. I was getting away from a bluff reef.' 'No, it wasn't a bluff reef; there isn't one within three miles of where you were.' 'But I saw it. It was as bluff as that one yonder.' 'Just about. Run over it!' 'Do you give it as an order?' 'Yes. Run over it.' 'If I don't, I wish I may die.' 'All right; I am taking the responsibility.' I was just as anxious to kill the boat, now, as I had been to save her before. I impressed my orders upon my memory, to be used at the inquest, and made a straight break for the reef. As it disappeared under our bows I held my breath; but we slid over it like oil. 'Now don't you see the difference? It wasn't anything but a WIND reef. The wind does that.' 'So I see. But it is exactly like a bluff reef. How am I ever going to tell them apart?' 'I can't tell you. It is an instinct. By and by you will just naturally KNOW one from the other, but you never will be able to explain why or how you know them apart' It turned out to be true. The face of the water, in time, became a wonderful book—a book that was a dead language to the uneducated passenger, but which told its mind to me without reserve, delivering its most cherished secrets as clearly as if it uttered them with a voice. And it was not a book to be read once and thrown aside, for it had a new story to tell every day. Throughout the long twelve hundred miles there was never a page that was void of interest, never one that you could leave unread without loss, never one that you would want to skip, thinking you could find higher enjoyment in some other thing. There never was so wonderful a book written by man; never one whose interest was so absorbing, so unflagging, so sparkingly renewed with every reperusal. The passenger who could not read it was charmed with a peculiar sort of faint dimple on its surface (on the rare occasions when he did not overlook it altogether); but to the pilot that was an ITALICIZED passage; indeed, it was more than that, it was a legend of the largest capitals, with a string of shouting exclamation points at the end of it; for it meant that a wreck or a rock was buried there that could tear the life out of the strongest vessel that ever floated. It is the faintest and simplest expression the water ever makes, and the most hideous to a pilot's eye. In truth, the passenger who could not read this book saw nothing but all manner of pretty pictures in it painted by the sun and shaded by the clouds, whereas to the trained eye these were not pictures at all, but the grimmest and most dead-earnest of reading-matter. Now when I had mastered the language of this water and had come to know every trifling feature that bordered the great river as familiarly as I knew the letters of the alphabet, I had made a valuable acquisition. But I had lost something, too. I had lost something which could never be restored to me while I lived. All the grace, the beauty, the poetry had gone out of the majestic river! I still keep in mind a certain wonderful sunset which I witnessed when steamboating was new to me. A broad expanse of the river was turned to blood; in the middle distance the red hue brightened into gold, through which a solitary log came floating, black and conspicuous; in one place a long, slanting mark lay sparkling upon the water; in another the surface was broken by boiling, tumbling rings, that were as many-tinted as an opal; where the ruddy flush was faintest, was a smooth spot that was covered with graceful circles and radiating lines, ever so delicately traced; the shore on our left was densely wooded, and the somber shadow that fell from this forest was broken in one place by a long, ruffled trail that shone like silver; and high above the forest wall a clean-stemmed dead tree waved a single leafy bough that glowed like a flame in the unobstructed splendor that was flowing from the sun. There were graceful curves, reflected images, woody heights, soft distances; and over the whole scene, far and near, the dissolving lights drifted steadily, enriching it, every passing moment, with new marvels of coloring. I stood like one bewitched. I drank it in, in a speechless rapture. The world was new to me, and I had never seen anything like this at home. But as I have said, a day came when I began to cease from noting the glories and the charms which the moon and the sun and the twilight wrought upon the river's face; another day came when I ceased altogether to note them. Then, if that sunset scene had been repeated, I should have looked upon it without rapture, and should have commented upon it, inwardly, after this fashion: This sun means that we are going to have wind to-morrow; that floating log means that the river is rising, small thanks to it; that slanting mark on the water refers to a bluff reef which is going to kill somebody's steamboat one of these nights, if it keeps on stretching out like that; those tumbling 'boils' show a dissolving bar and a changing channel there; the lines and circles in the slick water over yonder are a warning that that troublesome place is shoaling up dangerously; that silver streak in the shadow of the forest is the 'break' from a new snag, and he has located himself in the very best place he could have found to fish for steamboats; that tall dead tree, with a single living branch, is not going to last long, and then how is a body ever going to get through this blind place at night without the friendly old landmark. No, the romance and the beauty were all gone from the river. All the value any feature of it had for me now was the amount of usefulness it could furnish toward compassing the safe piloting of a steamboat. Since those days, I have pitied doctors from my heart. What does the lovely flush in a beauty's cheek mean to a doctor but a 'break' that ripples above some deadly disease. Are not all her visible charms sown thick with what are to him the signs and symbols of hidden decay? Does he ever see her beauty at all, or doesn't he simply view her professionally, and comment upon her unwholesome condition all to himself? And doesn't he sometimes wonder whether he has gained most or lost most by learning his trade? Chapter 10 Completing My Education WHOSOEVER has done me the courtesy to read my chapters which have preceded this may possibly wonder that I deal so minutely with piloting as a science. It was the prime purpose of those chapters; and I am not quite done yet. I wish to show, in the most patient and painstaking way, what a wonderful science it is. Ship channels are buoyed and lighted, and therefore it is a comparatively easy undertaking to learn to run them; clear-water rivers, with gravel bottoms, change their channels very gradually, and therefore one needs to learn them but once; but piloting becomes another matter when you apply it to vast streams like the Mississippi and the Missouri, whose alluvial banks cave and change constantly, whose snags are always hunting up new quarters, whose sandbars are never at rest, whose channels are for ever dodging and shirking, and whose obstructions must be confronted in all nights and all weathers without the aid of a single light-house or a single buoy; for there is neither light nor buoy to be found anywhere in all this three or four thousand miles of villainous river.{footnote [True at the time referred to; not true now (1882).]} I feel justified in enlarging upon this great science for the reason that I feel sure no one has ever yet written a paragraph about it who had piloted a steamboat himself, and so had a practical knowledge of the subject. If the theme were hackneyed, I should be obliged to deal gently with the reader; but since it is wholly new, I have felt at liberty to take up a considerable degree of room with it. When I had learned the name and position of every visible feature of the river; when I had so mastered its shape that I could shut my eyes and trace it from St. Louis to New Orleans; when I had learned to read the face of the water as one would cull the news from the morning paper; and finally, when I had trained my dull memory to treasure up an endless array of soundings and crossing-marks, and keep fast hold of them, I judged that my education was complete: so I got to tilting my cap to the side of my head, and wearing a tooth-pick in my mouth at the wheel. Mr. Bixby had his eye on these airs. One day he said— 'What is the height of that bank yonder, at Burgess's?' 'How can I tell, sir. It is three-quarters of a mile away.' 'Very poor eye—very poor. Take the glass.' I took the glass, and presently said—'I can't tell. I suppose that that bank is about a foot and a half high.' 'Foot and a half! That's a six-foot bank. How high was the bank along here last trip?' 'I don't know; I never noticed.' 'You didn't? Well, you must always do it hereafter.' 'Why?' 'Because you'll have to know a good many things that it tells you. For one thing, it tells you the stage of the river—tells you whether there's more water or less in the river along here than there was last trip.' 'The leads tell me that.' I rather thought I had the advantage of him there. 'Yes, but suppose the leads lie? The bank would tell you so, and then you'd stir those leadsmen up a bit. There was a ten-foot bank here last trip, and there is only a six-foot bank now. What does that signify?' 'That the river is four feet higher than it was last trip.' 'Very good. Is the river rising or falling?' 'Rising.' 'No it ain't.' 'I guess I am right, sir. Yonder is some drift-wood floating down the stream.' 'A rise starts the drift-wood, but then it keeps on floating a while after the river is done rising. Now the bank will tell you about this. Wait till you come to a place where it shelves a little. Now here; do you see this narrow belt of fine sediment That was deposited while the water was higher. You see the driftwood begins to strand, too. The bank helps in other ways. Do you see that stump on the false point?' 'Ay, ay, sir.' 'Well, the water is just up to the roots of it. You must make a note of that.' 'Why?' 'Because that means that there's seven feet in the chute of 103.' 'But 103 is a long way up the river yet.' 'That's where the benefit of the bank comes in. There is water enough in 103 NOW, yet there may not be by the time we get there; but the bank will keep us posted all along. You don't run close chutes on a falling river, up-stream, and there are precious few of them that you are allowed to run at all down-stream. There's a law of the United States against it. The river may be rising by the time we get to 103, and in that case we'll run it. We are drawing—how much?' 'Six feet aft,—six and a half forward.' 'Well, you do seem to know something.' 'But what I particularly want to know is, if I have got to keep up an everlasting measuring of the banks of this river, twelve hundred miles, month in and month out?' 'Of course!' My emotions were too deep for words for a while. Presently I said—' And how about these chutes. Are there many of them?' 'I should say so. I fancy we shan't run any of the river this trip as you've ever seen it run before—so to speak. If the river begins to rise again, we'll go up behind bars that you've always seen standing out of the river, high and dry like the roof of a house; we'll cut across low places that you've never noticed at all, right through the middle of bars that cover three hundred acres of river; we'll creep through cracks where you've always thought was solid land; we'll dart through the woods and leave twenty-five miles of river off to one side; we'll see the hind-side of every island between New Orleans and Cairo.' 'Then I've got to go to work and learn just as much more river as I already know.' 'Just about twice as much more, as near as you can come at it.' 'Well, one lives to find out. I think I was a fool when I went into this business.' 'Yes, that is true. And you are yet. But you'll not be when you've learned it.' 'Ah, I never can learn it.' 'I will see that you DO.' By and by I ventured again— 'Have I got to learn all this thing just as I know the rest of the river—shapes and all—and so I can run it at night?' 'Yes. And you've got to have good fair marks from one end of the river to the other, that will help the bank tell you when there is water enough in each of these countless places—like that stump, you know. When the river first begins to rise, you can run half a dozen of the deepest of them; when it rises a foot more you can run another dozen; the next foot will add a couple of dozen, and so on: so you see you have to know your banks and marks to a dead moral certainty, and never get them mixed; for when you start through one of those cracks, there's no backing out again, as there is in the big river; you've got to go through, or stay there six months if you get caught on a falling river. There are about fifty of these cracks which you can't run at all except when the river is brim full and over the banks.' 'This new lesson is a cheerful prospect.' 'Cheerful enough. And mind what I've just told you; when you start into one of those places you've got to go through. They are too narrow to turn around in, too crooked to back out of, and the shoal water is always up at the head; never elsewhere. And the head of them is always likely to be filling up, little by little, so that the marks you reckon their depth by, this season, may not answer for next.' 'Learn a new set, then, every year?' 'Exactly. Cramp her up to the bar! What are you standing up through the middle of the river for?' The next few months showed me strange things. On the same day that we held the conversation above narrated, we met a great rise coming down the river. The whole vast face of the stream was black with drifting dead logs, broken boughs, and great trees that had caved in and been washed away. It required the nicest steering to pick one's way through this rushing raft, even in the day-time, when crossing from point to point; and at night the difficulty was mightily increased; every now and then a huge log, lying deep in the water, would suddenly appear right under our bows, coming head-on; no use to try to avoid it then; we could only stop the engines, and one wheel would walk over that log from one end to the other, keeping up a thundering racket and careening the boat in a way that was very uncomfortable to passengers. Now and then we would hit one of these sunken logs a rattling bang, dead in the center, with a full head of steam, and it would stun the boat as if she had hit a continent. Sometimes this log would lodge, and stay right across our nose, and back the Mississippi up before it; we would have to do a little craw-fishing, then, to get away from the obstruction. We often hit WHITE logs, in the dark, for we could not see them till we were right on them; but a black log is a pretty distinct object at night. A white snag is an ugly customer when the daylight is gone. Of course, on the great rise, down came a swarm of prodigious timber-rafts from the head waters of the Mississippi, coal barges from Pittsburgh, little trading scows from everywhere, and broad-horns from 'Posey County,' Indiana, freighted with 'fruit and furniture'—the usual term for describing it, though in plain English the freight thus aggrandized was hoop-poles and pumpkins. Pilots bore a mortal hatred to these craft; and it was returned with usury. The law required all such helpless traders to keep a light burning, but it was a law that was often broken. All of a sudden, on a murky night, a light would hop up, right under our bows, almost, and an agonized voice, with the backwoods 'whang' to it, would wail out— 'Whar'n the —— you goin' to! Cain't you see nothin', you dash-dashed aig-suckin', sheep-stealin', one-eyed son of a stuffed monkey!' Then for an instant, as we whistled by, the red glare from our furnaces would reveal the scow and the form of the gesticulating orator as if under a lightning-flash, and in that instant our firemen and deck-hands would send and receive a tempest of missiles and profanity, one of our wheels would walk off with the crashing fragments of a steering-oar, and down the dead blackness would shut again. And that flatboatman would be sure to go into New Orleans and sue our boat, swearing stoutly that he had a light burning all the time, when in truth his gang had the lantern down below to sing and lie and drink and gamble by, and no watch on deck. Once, at night, in one of those forest-bordered crevices (behind an island) which steamboatmen intensely describe with the phrase 'as dark as the inside of a cow,' we should have eaten up a Posey County family, fruit, furniture, and all, but that they happened to be fiddling down below, and we just caught the sound of the music in time to sheer off, doing no serious damage, unfortunately, but coming so near it that we had good hopes for a moment. These people brought up their lantern, then, of course; and as we backed and filled to get away, the precious family stood in the light of it—both sexes and various ages—and cursed us till everything turned blue. Once a coalboatman sent a bullet through our pilot-house, when we borrowed a steering oar of him in a very narrow place. *** END OF THE PROJECT GUTENBERG EBOOK LIFE ON THE MISSISSIPPI, PART 2. *** Updated editions will replace the previous one—the old editions will be renamed. Creating the works from print editions not protected by U.S. copyright law means that no one owns a United States copyright in these works, so the Foundation (and you!) can copy and distribute it in the United States without permission and without paying copyright royalties. Special rules, set forth in the General Terms of Use part of this license, apply to copying and distributing Project Gutenberg™ electronic works to protect the PROJECT GUTENBERG™ concept and trademark. Project Gutenberg is a registered trademark, and may not be used if you charge for an eBook, except by following the terms of the trademark license, including paying royalties for use of the Project Gutenberg trademark. If you do not charge anything for copies of this eBook, complying with the trademark license is very easy. You may use this eBook for nearly any purpose such as creation of derivative works, reports, performances and research. Project Gutenberg eBooks may be modified and printed and given away—you may do practically ANYTHING in the United States with eBooks not protected by U.S. copyright law. Redistribution is subject to the trademark license, especially commercial redistribution. START: FULL LICENSE THE FULL PROJECT GUTENBERG™ LICENSE PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK To protect the Project Gutenberg™ mission of promoting the free distribution of electronic works, by using or distributing this work (or any other work associated in any way with the phrase “Project Gutenberg”), you agree to comply with all the terms of the Full Project Gutenberg License available with this file or online at www.gutenberg.org/license. Section 1. General Terms of Use and Redistributing Project Gutenberg electronic works 1.A. By reading or using any part of this Project Gutenberg electronic work, you indicate that you have read, understand, agree to and accept all the terms of this license and intellectual property (trademark/copyright) agreement. If you do not agree to abide by all the terms of this agreement, you must cease using and return or destroy all copies of Project Gutenberg electronic works in your possession. If you paid a fee for obtaining a copy of or access to a Project Gutenberg electronic work and you do not agree to be bound by the terms of this agreement, you may obtain a refund from the person or entity to whom you paid the fee as set forth in paragraph 1.E.8. 1.B. “Project Gutenberg” is a registered trademark. It may only be used on or associated in any way with an electronic work by people who agree to be bound by the terms of this agreement. There are a few things that you can do with most Project Gutenberg electronic works even without complying with the full terms of this agreement. See paragraph 1.C below. There are a lot of things you can do with Project Gutenberg electronic works if you follow the terms of this agreement and help preserve free future access to Project Gutenberg electronic works. See paragraph 1.E below. 1.C. The Project Gutenberg Literary Archive Foundation (“the Foundation” or PGLAF), owns a compilation copyright in the collection of Project Gutenberg electronic works. Nearly all the individual works in the collection are in the public domain in the United States. If an individual work is unprotected by copyright law in the United States and you are located in the United States, we do not claim a right to prevent you from copying, distributing, performing, displaying or creating derivative works based on the work as long as all references to Project Gutenberg are removed. Of course, we hope that you will support the Project Gutenberg mission of promoting free access to electronic works by freely sharing Project Gutenberg works in compliance with the terms of this agreement for keeping the Project Gutenberg name associated with the work. You can easily comply with the terms of this agreement by keeping this work in the same format with its attached full Project Gutenberg License when you share it without charge with others. 1.D. The copyright laws of the place where you are located also govern what you can do with this work. Copyright laws in most countries are in a constant state of change. If you are outside the United States, check the laws of your country in addition to the terms of this agreement before downloading, copying, displaying, performing, distributing or creating derivative works based on this work or any other Project Gutenberg work. The Foundation makes no representations concerning the copyright status of any work in any country other than the United States. 1.E. Unless you have removed all references to Project Gutenberg: 1.E.1. The following sentence, with active links to, or other immediate access to, the full Project Gutenberg License must appear prominently whenever any copy of a Project Gutenberg work (any work on which the phrase “Project Gutenberg” appears, or with which the phrase “Project Gutenberg” is associated) is accessed, displayed, performed, viewed, copied or distributed: This eBook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg™ License included with this eBook or online at www.gutenberg.org . If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook. 1.E.2. If an individual Project Gutenberg electronic work is derived from texts not protected by U.S. copyright law (does not contain a notice indicating that it is posted with permission of the copyright holder), the work can be copied and distributed to anyone in the United States without paying any fees or charges. If you are redistributing or providing access to a work with the phrase “Project Gutenberg” associated with or appearing on the work, you must comply either with the requirements of paragraphs 1.E.1 through 1.E.7 or obtain permission for the use of the work and the Project Gutenberg trademark as set forth in paragraphs 1.E.8 or 1.E.9. 1.E.3. If an individual Project Gutenberg electronic work is posted with the permission of the copyright holder, your use and distribution must comply with both paragraphs 1.E.1 through 1.E.7 and any additional terms imposed by the copyright holder. Additional terms will be linked to the Project Gutenberg License for all works posted with the permission of the copyright holder found at the beginning of this work. 1.E.4. Do not unlink or detach or remove the full Project Gutenberg License terms from this work, or any files containing a part of this work or any other work associated with Project Gutenberg. 1.E.5. Do not copy, display, perform, distribute or redistribute this electronic work, or any part of this electronic work, without prominently displaying the sentence set forth in paragraph 1.E.1 with active links or immediate access to the full terms of the Project Gutenberg License. 1.E.6. You may convert to and distribute this work in any binary, compressed, marked up, nonproprietary or proprietary form, including any word processing or hypertext form. However, if you provide access to or distribute copies of a Project Gutenberg work in a format other than “Plain Vanilla ASCII” or other format used in the official version posted on the official Project Gutenberg website (www.gutenberg.org), you must, at no additional cost, fee or expense to the user, provide a copy, a means of exporting a copy, or a means of obtaining a copy upon request, of the work in its original “Plain Vanilla ASCII” or other form. Any alternate format must include the full Project Gutenberg License as specified in paragraph 1.E.1. 1.E.7. Do not charge a fee for access to, viewing, displaying, performing, copying or distributing any Project Gutenberg works unless you comply with paragraph 1.E.8 or 1.E.9. 1.E.8. You may charge a reasonable fee for copies of or providing access to or distributing Project Gutenberg electronic works provided that: • You pay a royalty fee of 20% of the gross profits you derive from the use of Project Gutenberg works calculated using the method you already use to calculate your applicable taxes. The fee is owed to the owner of the Project Gutenberg trademark, but he has agreed to donate royalties under this paragraph to the Project Gutenberg Literary Archive Foundation. Royalty payments must be paid within 60 days following each date on which you prepare (or are legally required to prepare) your periodic tax returns. Royalty payments should be clearly marked as such and sent to the Project Gutenberg Literary Archive Foundation at the address specified in Section 4, “Information about donations to the Project Gutenberg Literary Archive Foundation.” • You provide a full refund of any money paid by a user who notifies you in writing (or by e-mail) within 30 days of receipt that s/he does not agree to the terms of the full Project Gutenberg™ License. You must require such a user to return or destroy all copies of the works possessed in a physical medium and discontinue all use of and all access to other copies of Project Gutenberg™ works. • You provide, in accordance with paragraph 1.F.3, a full refund of any money paid for a work or a replacement copy, if a defect in the electronic work is discovered and reported to you within 90 days of receipt of the work. • You comply with all other terms of this agreement for free distribution of Project Gutenberg™ works. 1.E.9. If you wish to charge a fee or distribute a Project Gutenberg™ electronic work or group of works on different terms than are set forth in this agreement, you must obtain permission in writing from the Project Gutenberg Literary Archive Foundation, the manager of the Project Gutenberg™ trademark. Contact the Foundation as set forth in Section 3 below. 1.F. 1.F.1. Project Gutenberg volunteers and employees expend considerable effort to identify, do copyright research on, transcribe and proofread works not protected by U.S. copyright law in creating the Project Gutenberg™ collection. Despite these efforts, Project Gutenberg™ electronic works, and the medium on which they may be stored, may contain “Defects,” such as, but not limited to, incomplete, inaccurate or corrupt data, transcription errors, a copyright or other intellectual property infringement, a defective or damaged disk or other medium, a computer virus, or computer codes that damage or cannot be read by your equipment. 1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the “Right of Replacement or Refund” described in paragraph 1.F.3, the Project Gutenberg Literary Archive Foundation, the owner of the Project Gutenberg™ trademark, and any other party distributing a Project Gutenberg™ electronic work under this agreement, disclaim all liability to you for damages, costs and expenses, including legal fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH DAMAGE. 1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a defect in this electronic work within 90 days of receiving it, you can receive a refund of the money (if any) you paid for it by sending a written explanation to the person you received the work from. If you received the work on a physical medium, you must return the medium with your written explanation. The person or entity that provided you with the defective work may elect to provide a replacement copy in lieu of a refund. If you received the work electronically, the person or entity providing it to you may choose to give you a second opportunity to receive the work electronically in lieu of a refund. If the second copy is also defective, you may demand a refund in writing without further opportunities to fix the problem. 1.F.4. Except for the limited right of replacement or refund set forth in paragraph 1.F.3, this work is provided to you ‘AS-IS’, WITH NO OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE. 1.F.5. Some states do not allow disclaimers of certain implied warranties or the exclusion or limitation of certain types of damages. If any disclaimer or limitation set forth in this agreement violates the law of the state applicable to this agreement, the agreement shall be interpreted to make the maximum disclaimer or limitation permitted by the applicable state law. The invalidity or unenforceability of any provision of this agreement shall not void the remaining provisions. 1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the trademark owner, any agent or employee of the Foundation, anyone providing copies of Project Gutenberg™ electronic works in accordance with this agreement, and any volunteers associated with the production, promotion and distribution of Project Gutenberg™ electronic works, harmless from all liability, costs and expenses, including legal fees, that arise directly or indirectly from any of the following which you do or cause to occur: (a) distribution of this or any Project Gutenberg work, (b) alteration, modification, or additions or deletions to any Project Gutenberg work, and (c) any Defect you cause. Section 2. Information about the Mission of Project Gutenberg Project Gutenberg is synonymous with the free distribution of electronic works in formats readable by the widest variety of computers including obsolete, old, middle-aged and new computers. It exists because of the efforts of hundreds of volunteers and donations from people in all walks of life. Volunteers and financial support to provide volunteers with the assistance they need are critical to reaching Project Gutenberg’s goals and ensuring that the Project Gutenberg collection will remain freely available for generations to come. In 2001, the Project Gutenberg Literary Archive Foundation was created to provide a secure and permanent future for Project Gutenberg and future generations. To learn more about the Project Gutenberg Literary Archive Foundation and how your efforts and donations can help, see Sections 3 and 4 and the Foundation information page at www.gutenberg.org. Section 3. Information about the Project Gutenberg Literary Archive Foundation The Project Gutenberg Literary Archive Foundation is a non-profit 501(c)(3) educational corporation organized under the laws of the state of Mississippi and granted tax exempt status by the Internal Revenue Service. The Foundation’s EIN or federal tax identification number is 64-6221541. Contributions to the Project Gutenberg Literary Archive Foundation are tax deductible to the full extent permitted by U.S. federal laws and your state’s laws. The Foundation’s business office is located at 41 Watchung Plaza #516, Montclair NJ 07042, USA, +1 (862) 621-9288. Email contact links and up to date contact information can be found at the Foundation’s website and official page at www.gutenberg.org/contact Section 4. Information about Donations to the Project Gutenberg Literary Archive Foundation Project Gutenberg™ depends upon and cannot survive without widespread public support and donations to carry out its mission of increasing the number of public domain and licensed works that can be freely distributed in machine-readable form accessible by the widest array of equipment including outdated equipment. Many small donations ($1 to $5,000) are particularly important to maintaining tax exempt status with the IRS. The Foundation is committed to complying with the laws regulating charities and charitable donations in all 50 states of the United States. Compliance requirements are not uniform and it takes a considerable effort, much paperwork and many fees to meet and keep up with these requirements. We do not solicit donations in locations where we have not received written confirmation of compliance. To SEND DONATIONS or determine the status of compliance for any particular state visit www.gutenberg.org/donate . While we cannot and do not solicit contributions from states where we have not met the solicitation requirements, we know of no prohibition against accepting unsolicited donations from donors in such states who approach us with offers to donate. International donations are gratefully accepted, but we cannot make any statements concerning tax treatment of donations received from outside the United States. U.S. laws alone swamp our small staff. Please check the Project Gutenberg web pages for current donation methods and addresses. Donations are accepted in a number of other ways including checks, online payments and credit card donations. To donate, please visit: www.gutenberg.org/donate. Section 5. General Information About Project Gutenberg electronic works Professor Michael S. Hart was the originator of the Project Gutenberg concept of a library of electronic works that could be freely shared with anyone. For forty years, he produced and distributed Project Gutenberg eBooks with only a loose network of volunteer support. Project Gutenberg eBooks are often created from several printed editions, all of which are confirmed as not protected by copyright in the U.S. unless a copyright notice is included. Thus, we do not necessarily keep eBooks in compliance with any particular paper edition. Most people start at our website which has the main PG search facility: www.gutenberg.org . This website includes information about Project Gutenberg, including how to make donations to the Project Gutenberg Literary Archive Foundation, how to help produce our new eBooks, and how to subscribe to our email newsletter to hear about new eBooks.

Record · ID 35111 · SHA-256 03ba979f96d4a1bb
Retrieved via Conceptio — every document is proof-bundled with source, license, and retrieval metadata.