The Strength of Gideon and Other Stories. Paul Laurence Dunbar

      "Hunt me up when you do come," she said, crying bitterly, "fu' I do love you, Gidjon, but I must go. Out yonder is freedom," and she was gone with them.

      He drew out a pace after the troops, and then, turning, looked back at the house. He went a step farther, and then a woman's gentle voice called him, "Gideon!" He stopped. He crushed his cap in his hands, and the tears came into his eyes. Then he answered, "Yes, Mis' Ellen, I's a-comin'."

      He stood and watched the dusty column until the last blue leg swung out of sight and over the grey hills the last drum-tap died away, and then turned and retraced his steps toward the house.

      Gideon had triumphed mightily.

MAMMY

       PEGGY'S PRIDE

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MAMMY PEGGY'S PRIDE

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      In the failing light of the midsummer evening, two women sat upon the broad veranda that ran round three sides of the old Virginia mansion. One was young and slender with the slightness of delicate girlhood. The other was old, black and ample—a typical mammy of the old south. The girl was talking in low, subdued tones touched with a note of sadness that was strange in one of her apparent youth, but which seemed as if somehow in consonance with her sombre garments.

      "No, no, Peggy," she was saying, "we have done the best we could, as well as even papa could have expected of us if he had been here. It was of no use to keep struggling and straining along, trying to keep the old place from going, out of a sentiment, which, however honest it might have been, was neither common sense nor practical. Poor people, and we are poor, in spite of the little we got for the place, cannot afford to have feelings. Of course I hate to see strangers take possession of the homestead, and—and—papa's and mamma's and brother Phil's graves are out there on the hillside. It is hard—hard, but what was I to do? I couldn't plant and hoe and plow, and you couldn't, so I am beaten, beaten." The girl threw out her hands with a despairing gesture and burst into tears.

      Mammy Peggy took the brown head in her lap and let her big hands wander softly over the girl's pale face. "Sh—sh," she said as if she were soothing a baby, "don't go on lak dat. W'y whut's de mattah wid you, Miss Mime? 'Pears lak you done los' all yo' spe'it. Whut you reckon yo' pappy 'u'd t'ink ef he could see you ca'in' on dis away? Didn' he put his han' on yo' haid an' call you his own brave little gal, jes' befo', jes' befo'—he went?"

      The girl raised her head for a moment and looked at the old woman.

      "Oh, mammy, mammy," she cried, "I have tried so hard to be brave—to be really my father's daughter, but I can't, I can't. Everything I turn my hand to fails. I've tried sewing, but here every one sews for herself now. I've even tried writing," and here a crimson glow burned in her cheeks, "but oh, the awful regularity with which everything came back to me. Why, I even put you in a story, Mammy Peggy, you dear old, good, unselfish thing, and the hard-hearted editor had the temerity to decline you with thanks."

      "I wouldn't'a' nevah lef' you nohow, honey."

      Mima laughed through her tears. The strength of her first grief had passed, and she was viewing her situation with a whimsical enjoyment of its humorous points.

      "I don't know," she went on, "it seems to me that it's only in stories themselves that destitute young Southern girls get on and make fame and fortune with their pens. I'm sure I couldn't."

      "Of course you couldn't. Whut else do you 'spect? Whut you know 'bout mekin' a fortune? Ain't you a Ha'ison? De Ha'isons nevah was no buyin' an' sellin', mekin' an' tradin' fambly. Dey was gent'men an' ladies f'om de ve'y fus' beginnin'."

      "Oh what a pity one cannot sell one's quality for daily bread, or trade off one's blue blood for black coffee."

      "Miss Mime, is you out o' yo' haid?" asked Mammy Peggy in disgust and horror.

      "No, I'm not, Mammy Peggy, but I do wish that I could traffic in some of my too numerous and too genteel ancestors instead of being compelled to dispose of my ancestral home and be turned out into the street like a pauper."

      "Heish, honey, heish, I can' stan' to hyeah you talk dat-away. I's so'y to see dee ol' place go, but you got to go out of it wid yo' haid up, jes' ez ef you was gwine away fo' a visit an' could come back w'en evah you wanted to."

      "I shall slink out of it like a cur. I can't meet the eyes of the new owner; I shall hate him."

      "W'y, Miss Mime, whaih's yo' pride? Whaih's yo' Ha'ison pride?"

      "Gone, gone with the deed of this house and its furniture. Gone with the money I paid for the new cottage and its cheap chairs."

      "Gone, hit ain' gone, fu' ef you won't let on to have it, I will. I'll show dat new man how yo' pa would 'a' did ef he'd 'a' been hyeah."

      "What, you, Mammy Peggy?"

      "Yes, me, I ain' a-gwine to let him t'ink dat de Ha'isons didn' have no quality."

      "Good, mammy, you make me remember who I am, and what my duty is. I shall see Mr. Northcope when he comes, and I'll try to make my Harrison pride sustain me when I give up to him everything I have held dear. Oh, mammy, mammy!"

      "Heish, chile, sh, sh, er go on, dat's right, yo' eyes is open now an' you kin cry a little weenty bit. It'll do you good. But when dat new man comes I want mammy's lamb to look at him an' hol' huh haid lak' huh ma used to hol' hern, an' I reckon Mistah No'thcope gwine to withah away."

      And so it happened that when Bartley Northcope came the next day to take possession of the old Virginia mansion he was welcomed at the door, and ushered into the broad parlor by Mammy Peggy, stiff and unbending in the faded finery of her family's better days.

      "Miss Mime'll be down in a minute," she told him, and as he sat in the great old room, and looked about him at the evidences of ancient affluence, his spirit was subdued by the silent tragedy which his possession of it evinced. But he could not but feel a thrill at the bit of comedy which is on the edge of every tragedy, as he thought of Mammy Peggy and her formal reception. "She let me into my own house," he thought to himself, "with the air of granting me a favor." And then there was a step on the stair; the door opened, and Miss Mima stood before him, proud, cold, white, and beautiful.

      He found his feet, and went forward to meet her. "Mr. Northcope," she said, and offered her hand daintily, hesitatingly. He took it, and thought, even in that flash of a second, what a soft, tiny hand it was.

      "Yes," he said, "and I have been sitting here, overcome by the vastness of your fine old house."

      The "your" was delicate, she thought, but she only said, "Let me help you to recovery with some tea. Mammy will bring some," and then she blushed very red. "My old nurse is the only servant I have with me, and she is always mammy to me." She remembered, and throwing up her proud little head rang for the old woman.

      Directly, Mammy Peggy came marching in like a grenadier. She bore a tray with the tea things on it, and after she had set it down hovered in the room as if to chaperon her mistress. Bartley felt decidedly uncomfortable. Mima's manners were all that politeness could require, but he felt as if she resented his coming even to his own, and he knew that mammy looked upon him as an interloper.

      "MAMMY PEGGY CAME MARCHING IN LIKE A GRENADIER."

      Mima kept up well, only the paleness of her face showed what she felt at leaving her home. Her voice was calm and impassive, only once it trembled, when she wished that he would be as happy in the