THE LITTLE MASTER SAYS GOOD-NIGHT.

After George Gossett's two experiences in the pasture, he came to the conclusion that it would not be profitable to do any more patrolling on the Abercrombie place, but this did not add to his good humor. He had his father's surly temper, and, with it, a vindictive spirit that was entirely lacking in the elder Gossett. Moreover, age had not moderated nor impaired his energies, as it had his father's.

The fact that he had failed to capture Aaron struck him as a personal affront. He was stung by it. He felt that he and his father had been wronged by some one, he couldn't say who, but not by the runaway, for what was a "nigger," anyhow? After a while the idea was borne in upon him that somehow he and his family had been "insulted" by the Abercrombies. He arrived at this conclusion by a very circuitous route. The Abercrombies were harboring a Yankee in their house; and if they had the stomach to do that, why wasn't it just as easy for them to harbor "pap's" runaway nigger, especially when they were so keen to buy him?

Another thing that stung him, though he never mentioned it, was the sudden and unexplainable attitude of his father toward Aaron. Young Gossett had observed that his father appeared to lose interest in the runaway after Mr. Jim Simmons failed to catch him, but the fact was not impressed upon the young man's mind until the day he told the elder Gossett about the queer sight he saw in Abercrombie's pasture.

"Were you hunting the runaway?" his father asked, with some impatience.

"Why, no, pap. We weren't doing a thing in the world, but crossing the pasture on our way to the Turner old fields."

"Very well, then. Do as I do; let him alone. If you don't you'll get hurt. I know what I'm talking about."

This fairly took George's breath away. "Why, pap!" he cried; "ain't he your nigger? Didn't you buy him and pay your money down for him? Don't you want him out of the woods? And who's going to hurt me, pap?"

"You mind what I tell you," snapped the elder Gossett. "I'm older than you, and when I know a thing I know it. Let the runaway alone."

"If I'm going to be hurt," responded George doggedly, "I'd like to know who'll do it."

It would have been better for both if Mr. Gossett had told his son of his experience with Aaron. As it was, George was in danger of losing the little respect he had for his father. When he was warned that he would be hurt if he kept on trying to capture Aaron, he suspected at once that the warning related to Mr. Abercrombie. Who else would dare to hurt him, or even threaten to hurt him? Certainly not the runaway. Who, then, but Abercrombie?

The suggestion was enough. It made George Gossett so furious that he never thought to reflect that he himself had invented it. Once invented, however, every circumstance seemed to fit it. His father had suddenly lost interest in the runaway, though he had paid out money for him, and had hardly received a week's work in return. Why? Because Mr. Abercrombie had overawed his father in a crowd, just as he did the day Aaron was sold from the block. The young man had not forgotten that episode, and his resentment was rekindled and grew hotter than ever, for it was now reinforced by inward shame and disgust at the way his father had allowed himself to be overcome—and that, too, in regard to his own property.

The first result of George Gossett's resentment was his nearly successful effort to make the Teacher, Richard Hudspeth, the victim of the violent and natural prejudice that existed at that time against abolitionists; an event that has been related in "The Story of Aaron." The rescue of the Teacher by Mr. Abercrombie, and the fact that George Gossett was knocked flat by the Black Stallion, caused his resentment to rise to a white heat. He brooded over the matter until, at last, a desire to injure Mr. Abercrombie became an uncontrollable mania, and it went so far that one night, inflamed by whiskey, he set fire to the dwelling-house of the man he believed to be his father's enemy.

Then it was that Aaron rescued Little Crotchet and Free Polly, and fell fainting to the ground. And then it was that Mr. Gossett seized the first plausible opportunity that had presented itself to sell Aaron to Mr. Abercrombie. It is true, he drove a sharp bargain, suspecting that the runaway had seriously injured himself; but he would have sold Aaron in any event, being anxious to get rid of him.

George Gossett disappeared that night and was seen no more in that region. Years afterward, a homesick Georgian returning from Texas brought word that George Gossett had made a name for himself in that State, being known as a tough and a terror.

It's an ill wind that blows no good to any one. George Gossett little knew, when he applied the torch to the Abercrombie dwelling, that the light of it would call Aaron from the wildwoods and show him the way to a home where he was to live, happy in the love of Little Crotchet and of children as yet unborn, and happy in the respect and confidence of those whose interest he served.

Perhaps if George Gossett could have looked into the future, the blaze that produced these results would never have been kindled, and in that event the story of Aaron in the Wildwoods could have been spun out at greater length, but the conclusion would not have been different.

Richard Hudspeth remained long enough to see Aaron duly installed in his new home, for the Abercrombie mansion was at once rebuilt on a larger scale than ever, and to see him serve as the major-domo of the establishment. But the departure of the Teacher was not delayed for many months after his experience with the reckless and irresponsible young men who had placed themselves under the leadership of George Gossett. Duties more pressing and more important than those he had assumed in Georgia called him to his Northern home, where a larger career awaited him—a career that made him famous.

He became the most intimate adviser of Abraham Lincoln, and that great man found in him what, at the outset, he found in few New England men, the deepest sympathy and highest appreciation.

It was characteristic of Richard Hudspeth that the treatment he received at the hands of George Gossett and his night riders bred no resentment against the Southern people, and the trait of character that shut the door of his mind against all petty prejudices and rancorous judgments was precisely the trait that attracted first the notice and finally the friendship of Mr. Lincoln.

Aaron was as much of a mystery to the negroes on the Abercrombie place when he came to move about among them as he was when he roamed in the wildwoods. He was as much of a mystery to them years afterwards, when Buster John and Sweetest Susan came upon the scene, as he was when he first made his appearance on the place, but by that time the mystery he presented was a familiar one. The negroes had not solved it, but they were used to it.

At first it seemed that they would never cease to wonder. They watched his every movement, and always with increasing awe and respect. He went about among them freely, but not familiarly. He was not of them, and they knew it. He was kind and considerate, especially where the women and children were concerned, but always reserved, always dignified, always serious. Yet he never lost his temper, never frowned, and was never known to utter an angry word or make a gesture of irritation. He had the remarkable gift of patience, that seemed to be so highly developed in some animals. It was Uncle Fountain who drew the parallel between the patience displayed by Aaron and that of the animals, and added this, after turning the matter over in his mind: "Mo' speshually de creeturs what kin see in de dark."

On rare occasions Aaron would go into one of the cabins where the negroes were enjoying themselves, and there would be a mighty hustling around in that cabin until he had the most comfortable chair, or stool, or bench, or tub turned bottom-side up. At such times he would say, "Sing!" And then, after some display of shyness, Randall or Turin would strike into a quaint plantation melody, and carry it along; and as their voices died away the powerful and thrilling tenor of Susy's Sam, and Jemimy's quavering soprano would take up the refrain, all the singers joining in at the close. No matter what melody was sung, or what words were employed, the instinct and emotions of the negroes gave to their performance the form and essence of true balladry,—the burden, the refrain, the culmination, and the farewell; or, as the writers of pretty verse now call it, the envoi.

Often on such occasions Aaron would enter the negro cabin bearing the Little Master in his arms. And then the negroes were better pleased, for the Little Master somehow seemed to stand between them and the awesome being they knew as Aaron. At such times the arms of Big Sal ached to hold Little Crotchet, the lad seemed to be so pale and frail. Once she made bold to say to Aaron:—

"I kin hol' 'im some ef you tired."

"I won't be tired of that till I'm dead," responded Aaron.

"I know mighty well how dat is," responded Big Sal humbly. "I des wanted ter hol' 'im. I has helt him."

"She wants to hold you," said Aaron to the Little Master.

And the reply was, "Well, why not?"

Whereupon Big Sal took the lad in her arms, and when the rest began to sing she swayed her strong body back and forth, and joined in the song with a voice so low and soft and sweet that it seemed to be the undertone of melody itself; and the effect of it was so soothing that when the song was ended the Little Master was fast asleep and smiling, and Big Sal leaned over him with such a yearning at her heart that only a word or a look would have been necessary to set her to weeping. Neither then nor ever afterwards did she know the reason why or seek to discover it. Enough for her that it was so.

Something in her attitude told the rest of the negroes that the Little Master was asleep, and so when they sang another song they pitched their voices low,—so low that the melody seemed to come drifting through the air and in at the door from far away. When it was ended nothing would do but each negro must come forward on tiptoe and take a look at the Little Master, who was still asleep and smiling.

When Aaron rose to go Big Sal was somewhat embarrassed. She didn't want the Little Master awakened, and yet she didn't know how he could be transferred to Aaron's arms without arousing him. But the Son of Ben Ali solved that problem. He nodded to Big Sal and motioned toward the door, and she, carrying the Little Master in her strong arms, went out into the dark. Aaron paused at the threshold, raised his right hand above his head, and followed Big Sal. This gesture he always made by way of salutation and farewell on the threshold of every door he entered or went out of, whether the room was full of people or empty. Whether it was the door of his master's house or of Timoleon's stable, he paused and raised his right hand.