Andersonville — Volume 1 by John McElroy
page 117 of 143 (81%)
page 117 of 143 (81%)
![]() | ![]() |
|
supreme interest to them, but when near us and in the presence of a white
Rebel, this interest took the shape of stupid, open-eyed, open-mouthed wonder, something akin to the look on the face of the rustic lout, gazing for the first time upon a locomotive or a steam threshing machine. But if chance threw one of them near us when he thought himself unobserved by the Rebels, the blank, vacant face lighted up with an entirely different expression. He was no longer the credulous yokel who believed the Yankees were only slightly modified devils, ready at any instant to return to their original horn-and-tail condition and snatch him away to the bluest kind of perdition; he knew, apparently quite as well as his master, that they were in some way his friends and allies, and he lost no opportunity in communicating his appreciation of that fact, and of offering his services in any possible way. And these offers were sincere. It is the testimony of every Union prisoner in the South that he was never betrayed by or disappointed in a field-negro, but could always approach any one of them with perfect confidence in his extending all the aid in his power, whether as a guide to escape, as sentinel to signal danger, or a purveyor of food. These services were frequently attended with the greatest personal risk, but they were none the less readily undertaken. This applies only to the field-hands; the house servants were treacherous and wholly unreliable. Very many of our men who managed to get away from the prisons were recaptured through their betrayal by house servants, but none were retaken where a field hand could prevent it. We were much interested in watching the negro work. They wove in a great deal of their peculiar, wild, mournful music, whenever the character of the labor permitted. They seemed to sing the music for the music's sake alone, and were as heedless of the fitness of the accompanying words, as the composer of a modern opera is of his libretto. One middle aged |
|