had not read my poem; but he seemed to know what it was from the junior
partner, and he asked me whether I had been paid for it. I confessed
that I had not, and then he got out a chamois-leather bag, and took from
it five half-eagles in gold and laid them on the green cloth top of the
desk, in much the shape and of much the size of the Great Bear. I have
never since felt myself paid so lavishly for any literary work, though I
have had more for a single piece than the twenty-five dollars that
dazzled me in this constellation. The publisher seemed aware of the
poetic character of the transaction; he let the pieces lie a moment,
before he gathered them up and put them into my hand, and said, "I always
think it is pleasant to have it in gold."

But a terrible experience with the poem awaited me, and quenched for the
moment all my pleasure and pride. It was 'The Pilot's Story,' which I
suppose has had as much acceptance as anything of mine in verse (I do not
boast of a vast acceptance for it), and I had attempted to treat in it a
phase of the national tragedy of slavery, as I had imagined it on a
Mississippi steamboat. A young planter has gambled away the slave-girl
who is the mother of his child, and when he tells her, she breaks out
upon him with the demand:

"What will you say to our boy when he cries for me, there in Saint
Louis?"

I had thought this very well, and natural and simple, but a fatal
proof-reader had not thought it well enough, or simple and natural
enough, and he had made the line read:

"What will you say to our boy when he cries for 'Ma,' there in Saint
Louis?"