initial commit of ebook 23512HEADmain

12 files changed, 6895 insertions, 0 deletions

diff --git a/.gitattributes b/.gitattributes
new file mode 100644
index 0000000..6833f05
--- /dev/null
+++ b/.gitattributes
@@ -0,0 +1,3 @@
+* text=auto
+*.txt text
+*.md text
diff --git a/23512-0.txt b/23512-0.txt
new file mode 100644
index 0000000..9762eb7
--- /dev/null
+++ b/23512-0.txt
@@ -0,0 +1,1252 @@
+Project Gutenberg's Mam' Lyddy's Recognition, by Thomas Nelson Page
+
+This eBook is for the use of anyone anywhere 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
+
+
+Title: Mam' Lyddy's Recognition
+       1908
+
+Author: Thomas Nelson Page
+
+Release Date: November 16, 2007 [EBook #23512]
+Last Updated: March 8, 2018
+
+Language: English
+
+Character set encoding: UTF-8
+
+*** START OF THIS PROJECT GUTENBERG EBOOK MAM' LYDDY'S RECOGNITION ***
+
+
+
+
+Produced by David Widger
+
+
+
+
+
+
+MAM' LYDDY'S RECOGNITION
+
+By Thomas Nelson Page
+
+Charles Scribner's Sons New York, 1908
+
+Copyright, 1891, 1904, 1906
+
+
+
+
+I
+
+When Cabell Graeme was courting pretty Betty French up at the Château
+place, though he had many rivals and not a few obstacles to overcome, he
+had the good fortune to secure one valuable ally, whose friendship stood
+him in good stead. She was of a rich chocolate tint, with good features,
+and long hair, possibly inherited from some Arab ancestor, bead-like
+black eyes, and a voice like a harp, but which on occasion could become
+a flame. Her figure was short and stocky; but more dignity was never
+compressed within the same number of cubic inches.
+
+Mam' Lyddy had been in the French family all her life, as her mother and
+grandmother had been before her. She had rocked on her ample bosom the
+best part of three generations. And when Freedom came, however much she
+may have appreciated being free, she had much too high an estimate of
+the standing of the Frenches to descend to the level of the class she
+had always contemned as “free niggers.” She was a deep-dyed aristocrat.
+
+The Frenches were generally esteemed to be among the oldest and best
+families in the county, and the Château plantation, with its wide fields
+and fine old mansion, was commonly reckoned one of the finest in that
+section. But no such comparative statement would have satisfied Mam'
+Lyddy. She firmly believed that the Frenches were the greatest people in
+the world, and it would have added nothing to her dignity had they been
+princes, because it could have added nothing to it to be told that
+she was a member of a royal house. Part mentor, part dependent, part
+domestic, she knew her position, and within her province her place
+was as unquestioned as was that of her mistress, and her advice was as
+carefully considered.
+
+Caesar, her husband, a tall, ebony lath, with a bald head and meek eyes,
+had come out of another family and was treated with condescension. No
+one knew how often he was reminded of his lower estate; but it was often
+enough, for he was always in a somewhat humble and apologetic attitude.
+
+The Frenches were known as a “likely” family, but Betty, with her oval
+face, soft eyes, and skin like a magnolia flower, was so undeniably the
+beauty that she was called “Pretty Betty.” She was equally undeniably
+the belle. And while the old woman, who idolized her, found far more
+pleasure than even her mother in her belleship, she was as watchful over
+her as Argus. Every young man of the many who haunted the old French
+mansion among its oaks and maples had to meet the scrutiny of those
+sharp, tack-like eyes. The least slip that one made was enough to prove
+his downfall. The old woman sifted them as surely as she sifted her
+meal, and branded them with an infallible instinct akin to that of a
+keen watchdog. Many a young man who passed that silent figure without a
+greeting, or spoke lightly of some one, unheeding her presence, wondered
+at his want of success and felt without knowing why that he was pulling
+against an unseen current.
+
+“We must drop him--he ain't a gent'man,” she said of one. Of another:
+“Oh! Oh! honey, he won't do. He ain't our kind.” Or, “Betty, let him go,
+my Lamb. De Frenches don't pick up dat kine o' stick.”
+
+Happily for Cabell Graeme, he had the old woman's approval. In the first
+place, he was related to the Frenches, and this in her eyes was a
+patent of gentility. Then, he had always been kind to little Betty and
+particularly civil to herself. He not only never omitted to ask after
+her health, but also inquired as to her pet ailments of “misery in her
+foot” and “whirlin' in her head,” with an interest which flattered her
+deeply. But it went further back than that Once, when Betty was a little
+girl, Cabell, then a well-grown boy of twelve, had found her and her
+mammy on the wrong side of a muddy road, and wading through, he had
+carried Betty across, and then wading back, had offered to carry Mam'
+Lyddy over, too.
+
+“Go way f'om heah, boy, you can't carry me.”
+
+“Yes, I can, Mam' Lyddy. You don't know how strong I am.” He squared
+himself for the feat.
+
+She laughed at him, and with a flash in his gray eyes he suddenly
+grabbed her.
+
+“I 'll show you.”
+
+There was quite a scuffle. She was too heavy for him, but he won her
+friendship then and there, and as he grew up straight and sturdy, the
+friendship ripened. That he teased her and laughed at her did not in the
+least offend her. No one else could have taken such a liberty with
+her, but Cabell's references to old Caesar's declining health, and his
+innuendoes whenever she was “fixed up” that she was “looking around” in
+advance only amused her. It made no difference to her that he was poor,
+while several others of Betty's beaux were rich. He was “a gent'man,”
+ and she was an aristocrat.
+
+At times they had pitched battles, but each knew that the other was an
+ally.
+
+Cabell won his final victory by an audacity which few would have dared
+venture on. Among his rivals was one Mr. Hereford, whom he particularly
+disliked, partly because he frequently “outsat” him, and partly because
+he thought Miss Betty favored his attentions too much, and whom Mammy
+Lyddy detested because he always ignored her. Cabell charged her with
+deserting his cause and going over to the side of Mr. Hereford, and
+threatened to carry off the prize in spite of her and her ally.
+
+“You cyant cyah off nothin',” she said with a sniff of mock disdain.
+His eyes snapped. Without a word he seized her, and notwithstanding her
+resistance he lifted her, and flinging her over his shoulder, as if she
+had been a sack of corn, stalked up the steps and into the house, where
+he set her down abashed and vanquished before her astonished young
+mistress. The old woman pretended to be furious, but that day Cabell
+Graeme carried off more than Mam' Lyddy.
+
+When Cabel and pretty Betty were married, Mam' Lyddy threw in her lot
+with “her lamb.”
+
+Through all the evil days of carpet-bag rule, no white, not even Cabell
+Graeme himself, who was a leader of the young men, had looked with more
+burning contempt on the new-comers, or shown a sterner front to the
+miscreants who despoiled the country. And when Negro rule was at its
+worst, Mam' Lyddy was its most bitter reviler. Cabell Graeme was a
+captain among the young men who finally put down the evil element that
+had been running its riotous course. And during the fierce fight that
+was waged, he was much away from home; but he knew that in Mam' Lyddy he
+had left as redoubtable a guardian of his wife and babies as ever kept
+watch on a picket line.
+
+Among the most obnoxious of the colored leaders was one Amos Brown, a
+young negro with some education, who to the gift of fluency added enough
+shrewdness to become a leader. He was while in power one of the most
+dangerous men in the State, and so long as he had backing enough, he
+staggered at nothing to keep the negroes stirred up. One of his schemes
+was to get money from the negroes with which to pay, as he claimed, ten
+per cent, for the best plantations in the State, after which, according
+to his account, the Government was to give them the places. This scheme
+worked well enough till the day of reckoning came, but happily it came.
+Among those who were duped was old Caesar, who, unknown to Mam' Lyddy,
+invested all his little savings in Amos Brown's homestead-plan and was
+robbed. Partly in terror of Mam' Lyddy and partly in hopes of saving his
+money, the old man made a full disclosure of the scheme, and with the
+proof he furnished, Cabell Graeme and others succeeded in sending the
+statesman to the penitentiary.
+
+What Caesar possibly had to endure from Mam' Lyddy, only those could
+imagine who knew her blistering tongue. From that time she took herself
+not only everything that she made, but every cent that old Caesar made.
+
+“You keep 'dis for me, Marse Cab. I 'm never goin' to trust dat Caesar
+wid a cent long as I live. A nigger ain't got a bit o' sense about
+money.”
+
+But though Caesar would gladly have paid all he made to purchase
+immunity from her revilings, it is probable that he heard of his error
+at least three times a day during the rest of his natural life.
+
+
+
+
+II
+
+As long as the old people lived, the French place was kept up; but the
+exactions of hereditary hospitality ate deeply into what the war had
+left, and after the death of old Colonel French and Mrs. French, and the
+division of the estate, there was little left but the land, and that was
+encumbered.
+
+Happily, Cabell Graeme was sufficiently successful as a lawyer, not
+only to keep his little family in comfort, but to receive an offer of
+a connection in the North, which made it clearly to his interest to go
+there. One of the main obstacles in the way of the move was Mam' Lyddy.
+She would have gone with them, but for the combined influences of Old
+Caesar and a henhouse full of hens that were sitting. The old man was
+in his last illness, and a slow decline, and the chickens would soon be
+hatched. Since, however, it was apparent that old Cæsar would soon be
+gone, as that the chickens would soon be hatched, Graeme having arranged
+for Cæsar's comfort, took his family with him when he moved.
+
+He knew that the breaking-up would be a wrench; but it was worse than
+he had expected, for their roots were deep in the old soil. Old friends,
+when they said good-by, wrung his hand with the faces men wear when
+they take a last look at a friend's face. The parting with the mammy was
+especially bitter. It brought the break-up home as few things had done.
+And when Mr. and Mrs. Graeme reached their new home with its strange
+surroundings, her absence made it all the stranger.
+
+The change in the servants marked the change in the life. The family
+found it hard to reconcile themselves to it. Mrs. Graeme had always been
+accustomed to the old servants, who were like members of the family,
+and to find her domestics regarding her as an enemy or as their prey
+disturbed and distressed her.
+
+“You are going to try colored servants?” asked one of her new friends in
+some surprise.
+
+“Oh, yes, I am quite used to them.”
+
+“Well.--Perhaps--but I doubt if you are used to these.”
+
+Mrs. Graeme soon discovered her mistake. One after another was tried and
+discarded. Those who knew nothing remained until they had learned enough
+to be useful and then departed, while those who knew a little thought
+they knew everything and brooked no direction. And all were insolent.
+With or without notice the dusky procession passed through the house,
+each out-goer taking with her some memento of her transient stay.
+
+“I do not know what is the matter,” sighed Mrs. Graeme. “I always
+thought I could get along with colored people; but somehow these are
+different. Why is it, Cabell!”
+
+“Spoiled,” said her husband, laconically. “The mistake was in the
+emancipation proclamation. _Domestic_ servants ought to have been
+excepted.”
+
+His humor, however, did not appeal to his wife. The case was too
+serious.
+
+“The last one I had told me, that if I did not like what she called
+coffee--and which I really thought was tea--I 'd better cook for myself.
+And that other maid, after wearing one of my best dresses, walked off
+with a brand-new waist. I am only standing the present one till Mammy
+comes. She says she likes to be called 'Miss Johnson.'”
+
+“_I_ paid twenty dollars last week for the privilege of chucking a dusky
+gentleman down the steps; but I did not begrudge it,” said her husband,
+cheerfully. “The justice who imposed the fine said to me afterward that
+the only mistake I had made was in not breaking his neck.”
+
+*****
+
+At last, old Caesar was gathered to his dusky fathers, and the chickens
+having been mainly disposed of, Mr. Graeme went down and brought the old
+mammy on.
+
+He had written the old woman to come by a certain train to Washington
+where he would meet her, and true to his appointment he met that train.
+But in the motley throng that filed through the gate was no Mam' Lyddy,
+and inquiring of the train men showed that no one answering to her
+description could have been on the train.
+
+Just as Graeme was turning away to go to the telegraph desk, one of
+the gray-clad colored porters, a stout, middle-aged man with a pleasant
+voice, and the address of a gentleman, approached him,
+
+“Were you looking for some one, sir?”
+
+“Yes, for an old colored woman, my wife's old mammy.”
+
+“Well, I think you may find her in the inner waiting-room. There is an
+old lady in there, who has been waiting there all day. She came in on
+the morning train, and said she was expecting you. If you will come with
+me, I will show you.”
+
+“She 's been there all day,” the porter said, with a laugh, as they
+walked along. “I asked who she was waiting for; but she wouldn't tell
+me. She said it was none of my business.”
+
+“I fancy that 's she,” said Graeme.
+
+“Yes, sir, that 's she, sure.”
+
+Graeme thanked him. With a chuckle he led the way to where ensconced
+in a corner, surrounded by bundles and baskets and clad in the deepest
+black, and with a flaming red bow at her throat, sat Mammy Lyddy.
+
+“Here 's the gentleman you were looking for,” said the porter kindly.
+
+At sight of Graeme she rose so hastily that many of her bundles rolled
+on the floor.
+
+“Why, Mammy! Why did n't you come on the train I wrote you to come on?”
+ enquired Graeme.
+
+“Well, you tole me to come to-day, and I thought I would like to be on
+time, so I came this morning.”
+
+“Now, if you will let me have your tickets, I will attend to everything
+for you,” said the porter to Graeme.
+
+The old woman gave him a swift glance, and then seeing Graeme hand him
+his ticket, she turned her back, and began to fish in some mysterious
+recess in her garments, and after a long exploration brought out a small
+bag containing her ticket.
+
+“Is he one of your servants!” she asked Graeme in an undertone.
+
+Graeme smiled. “Well, I think he is--he is everybody's servant and
+friend.”
+
+“I did n't know. He comes roun' inquirin' 'bout my business so officious
+I thought sure he was one o' dese Gov'ment folks, and I done had 'nough
+to do wid dat kind.”
+
+“Like Amos Brown, Caesar's friend.”
+
+It was a sore subject with the old woman.
+
+“Well, I did n't know--I thought he was one o' dese perliss. So I sent
+him 'long 'bout he own business. But if you know him it 's all right.”
+
+The passengers who streamed through the great station the evening of
+her arrival, were surprised to see a pudgy old black woman escorted by a
+gentleman who, loaded down with her bundles and baskets, was guiding her
+through the throng as respectfully as if she had been the first lady in
+the land. At the gate a lady and several children were awaiting her,
+and at sight of her a cry of joy went up. Dropping her bundles, the old
+woman threw herself into the lady's arms and kissed her again and again,
+after which she received a multitude of kisses from the children.
+
+“Well, I never saw anything like that,” said a stranger to another.
+
+“She is their mammy,” said the other one simply, with a pleasant light
+in his eyes.
+
+The old woman's presence seemed to transform the house. She was no
+sooner installed than she took possession. That very morning she
+established her position, after a sharp but decisive battle with the
+airy “colored lady,” who for some days had been dawdling about the
+house. The mammy had gauged her as soon as her sharp eyes fell on her.
+
+“What does yo' call yo'self?” she asked her.
+
+“What is my name? I am called 'Miss Johnson--Miss Selina Johnson.'”
+
+The old woman gave a sniff.
+
+“Yo' is! Well, what does yo' call you'self doin' heah?”
+
+“You mean what is my employment! I am the help--one of the help.”
+
+“Yo' is!” Mam' Lyddy tightened her apron-strings about her stout
+waist. “Well, 'Miss Johnson,' you git holt of that mat-trass and help me
+meek up dis heah bed so it 'll be fit for you' mistis to sleep on it.”
+ With a jerk she turned up the mattress. The maid was so taken aback for
+a moment that she did not speak. Then she drew herself up.
+
+“I know I ain' gwine to tetch it. I done made it up onct to-day. An' I
+ain't got no mistis.”
+
+The mammy turned on her.
+
+“Umh'm! I thought so! I knows jest yo' kind. Well, de sooner you git out
+o' dis room de better for you. 'Cause if I lay my han' 'pon you I won't
+let you go till I'se done what yo' mammy ought to 'a' done to you ev'y
+day o' yo' life.”
+
+She moved toward her with so dangerous a gleam in her sharp little eyes
+that “Miss Johnson” deemed it safest to beat a hasty retreat, and before
+bedtime had disappeared from the premises entirely.
+
+In the kitchen the old woman had been equally strenuous. She had shown
+the cook in one evening that she knew more about cooking than that
+well-satisfied person had ever dreamed any one knew. She had taught
+the other maid that she knew by instinct every lurking place of dirt,
+however skilfully hidden, and, withal, she had inspired them both with
+so much dread of her two-edged tongue that they were doing their best to
+conciliate her by a zeal and civility they had never shown before.
+
+For the first time the Graemes knew what comfort was in their new home.
+
+“Well, this is something like home,” said Mrs. Graeme that evening as
+she sat by the lamp. “Why, I feel like little Ben. He said to-night,
+'Mamma, Mammy brought old times with her.'”
+
+“May she live forever!” said Graeme.
+
+In time, however, Mrs. Graeme began to feel that the old woman was
+confining herself too closely to the house. She needed some recreation.
+She had not even been to church, and Mrs. Graeme knew that this was her
+chief delight.
+
+Yes, she would like to go to church, she said, but she did not know
+“about dese fine chutches.” She did not like much to go on the streets.
+“Dere was too many strange folks around for her. Dey did n't keer
+nuthin' for her ner she for dem.” And it was “de same way, she reckoned,
+with de chutches. Dey wuz new niggers, and she did n't had no use for
+dem, nor dey for her.”
+
+Mrs. Graeme, however, was insistent. Not far off, she had learned, was
+a colored church, “Mount Salem,” over which the Reverend Amos Johnson
+presided with much show of broadcloth and silk hat. He had considerable
+reputation as a speaker, and from time to time appeared in the
+newspapers as a rather ranting writer on matters with a political
+coloring. Mrs. Graeme explained to the old woman that she need have no
+more to do with the people than she wished, and the following Sunday she
+went herself with her to the door of the church. Before leaving her she
+gave her a half-dollar to put in the plate, and asked a solemn-looking
+usher to show her a good seat.
+
+When the old woman returned she was interested, but critical. “I'se been
+used to chutch all my life,” she declared, “but I never saw no fixin's
+like dat. Br'er George Wash'n'ton Thomas of Mount Zion was de fancies'
+one I ever seen; but he could n't tetch dat man. Why, dey outdoes white
+folks!”
+
+“Were n't they nice to you!” asked her mistress.
+
+“Nor 'm', none too nice. Dat one what you spoke to for me wuz gwine to
+give me a seat; but a uppish young yaller one stopped him an' made him
+teck me back and stick me in a corner behind a pillar. But he did n't
+stick me so fur back 't dey did n't fine me when dey tecked up de money.
+When I put in dat fif'-cent you gi' me, he jumped like a pin had stick
+him. I dropped 't in so 't would soun', I tell you!”
+
+This gave Mrs. Graeme an idea, and she encouraged her to go again the
+following Sunday, and this time gave her a dollar to put in the plate.
+
+“Be sure and drop it in so it will sound,” she said to her.
+
+“I 'm gwine to.”
+
+“Well, how did you come out to-dayf” she asked her on her return.
+
+“Right well. Dey did n't stick me quite so fur back, and when I drap de
+dollar in dey wuz several on 'em lookin', and when de chutch was over
+dey come runnin' arter me, an', tell me ef I come next time dey 'll have
+a good seat for me. I 'm gwine agin, but fust thing dey know I 'm gwine
+to fool 'em. I ain't gwine put a dollar in agin, I know.”
+
+Mrs. Graeme laughed. “Oh! you must pay for being in society. We all do.”
+
+“I know _I_ ain't,” declared the old woman, “and I don't reckon you
+gwine to gi' me a dollar ev 'y Sunday.”
+
+“I certainly am not. I am only getting you launched.”
+
+The following week Mrs. Graeme said to her husband, “I think Mammy is
+launched. The preacher came to the front door to-day and asked to see
+Mrs. Quivers. At first I did not know whom he meant. Then he said it
+was 'a colored lady.' You never saw any one so gotten up--silk hat, kid
+gloves, and ebony cane. And Mammy was quite set up by it. She says the
+preacher is from home and knew Caesar. She was really airy afterward.”
+
+Mr. Graeme uttered an objurgation. “You will ruin that old woman, and
+with her the best old negro that ever was.”
+
+“Oh, no,” said Mrs. Graeme, “there is no danger of that. You could n't
+spoil her.”
+
+A few weeks later she said: “Yes, Mammy is launched. She told me to-day
+she wanted to join the club, and when I asked, what club, she said, 'the
+Colored Ladies Siciety Club.'” “I should say she was launched,” sniffed
+Mr. Graeme. “She told me she wanted her money to invest it herself. The
+old fool! They will rob her of it.”
+
+
+
+
+III
+
+The weeks that followed, and Mam' Lyddy's immersion in “Siciety” began
+apparently to justify Mr. Graeme's prophecy. A marked change had taken
+place in the old woman's dress, and no less a change had taken place in
+herself. She began to go out a good deal, and her manner was quite new.
+She was what a few weeks before she would have derided as “citified and
+airified.” At length Mrs. Graeme could not conceal it from herself any
+longer.
+
+One evening as her husband on his return from his office threw himself
+on his chair with the evening paper, she brought up the subject.
+
+“Cabell, it is true; you have noticed the change!”
+
+“What? I have no doubt I have.” He glanced at his wife to see if she had
+on a new dress or had changed the mode of wearing her hair, then gazed
+about him rather uneasily to see if the furniture had been shifted
+about, or if the pictures had been changed; points on which his wife was
+inclined to be particular.
+
+“The change in Mammy! Why, I should never know her for the same person.”
+
+“Of course, I have. I have noticed nothing else. Why, she is dressed as
+fine as a fiddle. She is 'taking notice.' She 'll be giving Old Caesar
+a successor. Then what will you do? I thought that fat darky I have seen
+going in at the back gate with a silk hat and a long-tailed coat looked
+like a preacher. You 'd better look out for him. You know she was always
+stuck on preachers. He is a preacher, sure.”
+
+“He is,” observed the small boy on the floor. “That 's the Reverend Mr.
+Johnson. And, oh! He certainly can blow beautiful smoke-rings. He can
+blow a whole dozen and make 'em go through each other. You just ought to
+see him, papa.”
+
+His father glanced casually at the cigar box on the table.
+
+“I think I will some day,” said he, half grimly.
+
+“I never would know her for the same person. Why, she is so changed!”
+ pursued Mrs. Graeme. “She goes out half the time, and this morning she
+was so cross! She says she is as good as I am if she is black. She is
+getting like these others up here.”
+
+Mr. Graeme flung down the paper he was reading.
+
+“It is these Northern negroes who have upset her, and the fools like the
+editor of that paper who have upset them.”
+
+Mrs. Graeme looked reflective.
+
+“That preacher has been coming here a good deal lately. I wonder if that
+could have anything to do with it!” she said, slowly.
+
+Her husband sniffed.
+
+“I will find out.”
+
+At that moment the door opened and in walked Mam' Lyddy and a small boy
+in all the glory of five years, and all the pride of his first pair of
+breeches. The old woman's face wore an expression of glumness wholly
+new to her, and Mr. Graeme's mouth tightened. His wife had only time to
+whisper: “Now, don't you say a word to her.” But she was too late. Mam'
+Lyddy's expression drove him to disobedience. He gave her a keen glance,
+and then said, half jocularly: “Old woman, what is the matter with you
+lately!”
+
+Mam' Lyddy did not answer immediately. She looked away, then said: “Wid
+me? Ain't nuttin' de matter wid me.”
+
+“Oh, yes, there is. What is it? Do you want to go home?”
+
+She appeared half startled for an instant, then answered more sharply:
+“Nor, I don't wan' go home. I ain' got no home to go to.”
+
+“Oh, yes, you have. Well, what is the matter? Out with it. Have you lost
+any money!”
+
+“Nor, I ain' lost no money 's _I_ knows on.”
+
+“Been playing lottery?”
+
+“I don' know what dat is.”
+
+“You don't, ah! Well, you would if you had been in Wall Street lately.
+Well, what is the matter? You are going around here as glum as a
+meat-axe. Something 's up. What is it?”
+
+“Ain' nothin' de matter wid _me_.” She glanced away under her master's
+half amused, half disdainful glance, then added half surlily: “I wants
+_rec'nition_.”
+
+“Want recognition? What do you mean?”
+
+“Dat 's what _we_ wants,” declared the old woman, acquiring courage.
+
+Graeme laughed.
+
+“What is recognition?”
+
+“I don't know what 't is edzac'ly, but dat's what we _wants_. You all 's
+got it and you got to gi' it to _us_.”
+
+“You mean you want to sit at table with us!” exclaimed Mrs. Graeme.
+
+Mammy Lyddy turned toward her. “You know I don't mean nuttin' like dat!
+I leetle more 'n smacked that yaller gal' what you call you' maid over
+'bout talkin' dat way t'other day.”
+
+“Then what do you want!”
+
+“I wants _rec'nition_--dat's all I wants.”
+
+“Who told you to say that!” asked Mr. Graeme.
+
+“Who tol' me to say dat?” She was puzzled.
+
+“Yes.”
+
+“Ain' nobody tol' me to say it.”
+
+“Yes, some one has. Who was it?---the Reverend Johnson? Did n't he tell
+you that!”
+
+She hesitated; but Mr. Graeme's eye was searching.
+
+“Well, he no mo' 'n others--no _much_ mo'. Of co'se, he tol' me dat--he
+_preaches_ 'bout it; but did n't nobody _have_ to tell me--I knows 'bout
+it myself.”
+
+“Of course you did, and you must have it. So shall the Reverend Mr.
+Johnson,” said Mr. Graeme. His tone expressed such sudden amiability
+that the old woman glanced at him suspiciously, but he was smiling
+softly and thoughtfully to himself.
+
+“What did you do with the four hundred and fifty-five dollars you drew
+out of bank last week? Did you invest it or lend it to Mr. Johnson?” It
+was a bow drawn at venture, but the arrow hit the mark, as Mr. Graeme
+saw.
+
+“I 'vested it.”
+
+“You mean Mr. Johnson invested it for you? By the way, what is his first
+name!”
+
+“Yes, sir. His name 's de Rev. Amos Johnson.”
+
+“By George! I thought so,” said Graeme, half aloud. “I saw him at the
+races last week. I knew I had seen him before.” His countenance grew
+suddenly cheerful.
+
+“What did he give you to show for it?”
+
+“He did n't gi' me nothin'. He 's gwine to draw the intrust for me.”
+
+“Oh! I thought so. Well, I want to see the Rev. Mr. Johnson when he
+comes next time. When do you expect him?”
+
+“I ain't 'pectin' him 't all. He comes sometimes. He was a friend o'
+Cæsar's.”
+
+“Ah! he was! So I thought. Comes to smoke a cigar, I suppose!”
+
+She looked so uneasy that he went on casually: “Well, it 's very well;
+always keep in with the cloth. He is a fine preacher, I hear! Keeps
+quite up with the times--interested in the races in more senses than
+one.”
+
+“Yes, sir; he preaches very well.”
+
+“That is all. Well, your friend must have 'rec'nition.'”
+
+The old woman withdrew.
+
+The following day Graeme went down to a detective agency and left a
+memorandum. A few days later he received a message from the agency:
+“Yes, he is the same man. He frequents the pool-rooms a good deal. Came
+from Kentucky. He used to be known as 'Amos Brown.'”
+
+
+
+
+IV
+
+For some days Mr. Graeme took to coming home earlier than usual, and one
+evening he was rewarded. Just after his arrival little Ben came in,
+and, climbing up to his cigar box, took out several cigars, and silently
+withdrew. As soon as he had disappeared his father stepped to the
+telephone, and, calling up the detective agency, asked that an officer
+be sent around to his house immediately. A few minutes later the officer
+arrived, and after a few words with him Mr. Graeme stationed him at the
+back gate and strolled back toward the kitchen. As he softly approached
+the door he heard voices within-one of them his little boy's voice, the
+other the deep, unctuous tones of a negro man. The child was begging the
+latter to blow smoke-wreaths, and the man was bartering with him.
+
+“Well, you must get me _more_ cigars; remember what I told you--six
+wreaths for one cigar.”
+
+At this moment the mammy evidently came in, for Mr. Graeme heard the man
+caution the child, and heard her voice for the first time,
+
+“What dat you telling dat chile?” she demanded, suspiciously.
+
+“Nothing. I was just entertaining him by blowing a few of those artistic
+wreaths he admires so much. My good friends keep me in cigars. It is one
+of the few consolations in a hard-working pastor's life. Well, sister,
+I called around to tell you your investment promises to be even more
+remunerative than I expected--and to tell you if you have any more,
+or even can borrow any, to let me place it as you did the other. I can
+guarantee to double it for you in a short time.”
+
+“I ain' got any more--an' ain' got nobody to lend me none.”
+
+“Well, ah! Could n 't you get any from your employer?” He lowered
+his voice; but Graeme caught the words. “You could raise money on the
+silver--and they would never know it. Besides, they owe it to you for
+all the work you have done without payment. Think how many years you
+worked for them as a slave without pay.”
+
+“Now, I ain' gwine to do dat!” exclaimed the old woman.
+
+At this moment Graeme softly opened the door. The mammy was standing
+with her back to him, and in one chair, tilted back with his feet in
+another chair, was a large and unctuous-looking negro of middle age, in
+all the glory of a black broadcloth coat and a white tie. He was engaged
+at the moment in blowing small wreaths, while little Ben stood by and
+gazed at him with open-eyed wonder and delight.
+
+At sight of Mr. Graeme, the preacher with a gulp, which sadly disturbed
+his last effort, rose to his feet. An expression of fear flitted across
+his face, then gave way to a crafty, half-insolent look.
+
+“Good evening, sir,” he began, with an insinuating smile, not wholly
+free from uneasiness.
+
+“Good evening, Amos. Mammy, will you kindly go to your mistress. Take
+the boy with you. Run along, son.”
+
+The old woman with a half-scared air led the child out, and Mr.
+Graeme closed the door and turned back to the visitor, who looked much
+embarrassed.
+
+“Take my cigars out of your pocket.”
+
+The preacher's hand went involuntarily to his breast-pocket, and then
+came down.
+
+“What! Your cigars out of my pocket? I have no cigars of yours, sir.” He
+spoke with slightly rising severity, as Mr. Graeme remained so calm.
+
+“Oh, yes, you have. But no matter for the present. You had just as well
+leave them there for a moment. What are you doing, coming here all the
+time?”
+
+“What am I doing?--Coming here? I am a minister of the Gawspel, sir, and
+I have a member of my congregation here, and I come to look after her
+welfare.”
+
+“And to see that she gets recognition?”
+
+“Suh?”--with a wince.
+
+“And incidentally to rob me of my cigars, and her of her small
+savings”--pursued Mr. Graeme, calmly.
+
+“Suh? Nor, suh, I has not done dat I will take my oath to it on the word
+of Almighty God.”
+
+The veneer of his fine speech had all been dropped, and the Rev. Johnson
+was talking naturally enough now.
+
+“What did you do with that money you took from her?”
+
+“What did I do wid--? What money?”
+
+Mr. Graeme showed impatience for the first time.
+
+“The four hundred and fifty-five dollars you got from her. Was there
+more than that?”
+
+At this point Mam' Lyddy opened the door and came in. She looked
+somewhat mystified and rather disturbed, but she said nothing. She only
+took her stand, and with arms folded waited silent and observant.
+
+The negro saw that Mr. Graeme knew of the fact and answered promptly.
+
+“Oh! You are mistaken, sir. I have taken no money of her. You can ax
+her. She had a sum of money which I as a favor to her invested for her.
+You can ask the sister there. I suppose you refer to that!”
+
+“Invested! In what?”
+
+“Ah--ur--in--ur--the Afro-American Sister's Loan and Trust Association.
+I have promised to invest it in that for her.”
+
+He stammered a good deal at the start, but was glib enough when he
+brought out the name. “Didn't I, sister!”
+
+“Yes, sir.” The old woman was manifestly impressed. The preacher's
+cunning face brightened.
+
+“You see what she says?”
+
+“With its chief office at the Race-course out here,” said Graeme, with a
+toss of his head. “Look here, I want you to get that money.”
+
+The negro shot a glance at Mam' Lyddy and decided that she would stand
+by him. He suddenly stiffened up and resumed his affected manner.
+
+“Well, sir, I do not know by what right you interfere with my
+affairs--or this lady's.”
+
+“You don 't? Well, that's what I am going to show you now. My right is
+that she is a member of my family, whom I am going to protect from just
+such scoundrels and thieves as you, Amos Brown.”
+
+The preacher received the name like a blow.
+
+At the words the old mammy jumped as if she were shot. She leaned
+forward, moving up slowly.
+
+“What's dat?--'Amos _Brown_'? What's dat you said, Marse Cabell? 'Amos
+_Brown_'?”
+
+Mr. Graeme nodded. “Yes. This is Amos Brown, 'a friend of Caesar's.'”
+
+“Indeed, I ain 't suh. I'm de Reverend Amos Johnson--” began the
+preacher, but his looks belied him. Mammy Lyddy took in the truth, and
+the next second the storm broke.
+
+“'Amos Brown' you is? I might 'a' knowd it! You thief! You a friend of
+Caesar's! Whar's my money?--My money you stole from Caesar? You come
+talkin' to me 'bout rec'nition? I done rec'nize you, you black nigger.
+Let me get at him, Marse Gabelle.”
+
+The old woman swept toward him with so threatening an air that Graeme
+interposed, and the preacher retreated behind him for protection. Even
+that place of security did not, however, save him from her vitriolic
+tongue. She poured out on him the vials of her wrath till Graeme,
+fearing she might drop down in a faint, stopped her.
+
+“Stop now. I will settle with him.”
+
+His authoritative air quieted her, but she still stood glowering and
+muttering her wrath.
+
+“You will have that money back here by to-morrow at this hour or I will
+put you in the penitentiary, where you have already been once and ought
+to be now. And now you will take my cigars out of your pocket, or I will
+hand you to that policeman out there at the door. Out with them.”
+
+“Boss, I ain't got no cigars o' yo's. I 'll swar to it on de wud o'----”
+
+“Out with them--or--” Mr. Graeme turned to open the door. The negro,
+after a glance at Mam' Lyddy, slowly took several cigars from his
+pockets.
+
+“Dese is all de cigars I has--and dey wuz given to me by a friend,” he
+said, surlily.
+
+“Yes, by my little boy. I know. Lay them there. I will keep them till
+to-morrow. And now go and get that money.”
+
+“What money?--I can't git dat money--dat money is invested.”
+
+“Then you bring the securities in which it is invested. I know where
+that money went. You go and rob some one else--but have that money at my
+office to-morrow before three o'clock or I 'll put you in jail to-morrow
+night. And if you ever put your foot on this place or speak to that old
+woman again, I 'll have you arrested. Do you understand!”
+
+“Yes, sir.”
+
+“Now go.” He opened the door.
+
+“Officer, do you recognize this man!”
+
+“Yes, sir, I know him.”
+
+“Well, I am going to let him go for the present”
+
+The Rev. Amos was already slinking down the street. Mr. Graeme turned to
+the old woman.
+
+“You want recognition?”
+
+“Nor, suh, I don't” She gave a whimper. “I wants my money. I wants to
+git hold of dat black nigger what 's done rob me talkin' 'bout bein'
+sich a friend o' Caesar's.”
+
+“Do you want to go home?”
+
+“Dis is my home.” She spoke humbly, but firmly.
+
+Two days afterward Mrs. Graeme said:
+
+“Cabell, Mammy is converted. It is like old times.”
+
+“I think it will last,” said her husband. “She is out four hundred and
+fifty-five dollars, and the Mount Salem flock is temporarily without
+a shepherd. The Rev. Amos Johnson was gathered in this morning for
+fleecing one of his sheep and signing the wrong name to a check.”
+
+
+
+
+
+
+End of Project Gutenberg's Mam' Lyddy's Recognition, by Thomas Nelson Page
+
+*** END OF THIS PROJECT GUTENBERG EBOOK MAM' LYDDY'S RECOGNITION ***
+
+***** This file should be named 23512-0.txt or 23512-0.zip *****
+This and all associated files of various formats will be found in:
+        http://www.gutenberg.org/2/3/5/1/23512/
+
+Produced by David Widger
+
+Updated editions will replace the previous one--the old editions
+will be renamed.
+
+Creating the works from public domain print editions 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-tm electronic works to
+protect the PROJECT GUTENBERG-tm concept and trademark.  Project
+Gutenberg is a registered trademark, and may not be used if you
+charge for the eBooks, unless you receive specific permission.  If you
+do not charge anything for copies of this eBook, complying with the
+rules is very easy.  You may use this eBook for nearly any purpose
+such as creation of derivative works, reports, performances and
+research.  They may be modified and printed and given away--you may do
+practically ANYTHING with public domain eBooks.  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-tm 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-tm License (available with this file or online at
+http://gutenberg.org/license).
+
+
+Section 1.  General Terms of Use and Redistributing Project Gutenberg-tm
+electronic works
+
+1.A.  By reading or using any part of this Project Gutenberg-tm
+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-tm electronic works in your possession.
+If you paid a fee for obtaining a copy of or access to a Project
+Gutenberg-tm 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-tm 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-tm electronic works if you follow the terms of this agreement
+and help preserve free future access to Project Gutenberg-tm 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-tm electronic works.  Nearly all the individual works in the
+collection are in the public domain in the United States.  If an
+individual work is in the public domain 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-tm mission of promoting free access to electronic works by
+freely sharing Project Gutenberg-tm works in compliance with the terms of
+this agreement for keeping the Project Gutenberg-tm 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-tm 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-tm work.  The Foundation makes no representations concerning
+the copyright status of any work in any country outside 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-tm License must appear prominently
+whenever any copy of a Project Gutenberg-tm 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 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
+
+1.E.2.  If an individual Project Gutenberg-tm electronic work is derived
+from the public domain (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-tm trademark as set forth in paragraphs 1.E.8 or
+1.E.9.
+
+1.E.3.  If an individual Project Gutenberg-tm 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-tm 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-tm
+License terms from this work, or any files containing a part of this
+work or any other work associated with Project Gutenberg-tm.
+
+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-tm 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-tm work in a format other than
+“Plain Vanilla ASCII” or other format used in the official version
+posted on the official Project Gutenberg-tm web site (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-tm
+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-tm 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-tm electronic works provided
+that
+
+- You pay a royalty fee of 20% of the gross profits you derive from
+     the use of Project Gutenberg-tm works calculated using the method
+     you already use to calculate your applicable taxes.  The fee is
+     owed to the owner of the Project Gutenberg-tm 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-tm
+     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-tm 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-tm works.
+
+1.E.9.  If you wish to charge a fee or distribute a Project Gutenberg-tm
+electronic work or group of works on different terms than are set
+forth in this agreement, you must obtain permission in writing from
+both the Project Gutenberg Literary Archive Foundation and Michael
+Hart, the owner of the Project Gutenberg-tm 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
+public domain works in creating the Project Gutenberg-tm
+collection.  Despite these efforts, Project Gutenberg-tm 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-tm trademark, and any other party distributing a Project
+Gutenberg-tm 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 F3.  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 MERCHANTIBILITY 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-tm electronic works in accordance
+with this agreement, and any volunteers associated with the production,
+promotion and distribution of Project Gutenberg-tm 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-tm
+work, (b) alteration, modification, or additions or deletions to any
+Project Gutenberg-tm work, and (c) any Defect you cause.
+
+
+Section  2.  Information about the Mission of Project Gutenberg-tm
+
+Project Gutenberg-tm 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, is critical to reaching Project Gutenberg-tm's
+goals and ensuring that the Project Gutenberg-tm 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-tm 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 web page at http://www.pglaf.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.  Its 501(c)(3) letter is posted at
+http://pglaf.org/fundraising.  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 principal office is located at 4557 Melan Dr. S.
+Fairbanks, AK, 99712., but its volunteers and employees are scattered
+throughout numerous locations.  Its business office is located at
+809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
+business@pglaf.org.  Email contact links and up to date contact
+information can be found at the Foundation's web site and official
+page at http://pglaf.org
+
+For additional contact information:
+     Dr. Gregory B. Newby
+     Chief Executive and Director
+     gbnewby@pglaf.org
+
+
+Section 4.  Information about Donations to the Project Gutenberg
+Literary Archive Foundation
+
+Project Gutenberg-tm depends upon and cannot survive without wide
+spread 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 http://pglaf.org
+
+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: http://pglaf.org/donate
+
+
+Section 5.  General Information About Project Gutenberg-tm electronic
+works.
+
+Professor Michael S. Hart is the originator of the Project Gutenberg-tm
+concept of a library of electronic works that could be freely shared
+with anyone.  For thirty years, he produced and distributed Project
+Gutenberg-tm eBooks with only a loose network of volunteer support.
+
+
+Project Gutenberg-tm eBooks are often created from several printed
+editions, all of which are confirmed as Public Domain 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 Web site which has the main PG search facility:
+
+     http://www.gutenberg.org
+
+This Web site includes information about Project Gutenberg-tm,
+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.
diff --git a/23512-0.zip b/23512-0.zip
new file mode 100644
index 0000000..ad5c813
--- /dev/null
+++ b/23512-0.zip
diff --git a/23512-8.txt b/23512-8.txt
new file mode 100644
index 0000000..1330fed
--- /dev/null
+++ b/23512-8.txt
@@ -0,0 +1,1251 @@
+Project Gutenberg's Mam' Lyddy's Recognition, by Thomas Nelson Page
+
+This eBook is for the use of anyone anywhere 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
+
+
+Title: Mam' Lyddy's Recognition
+       1908
+
+Author: Thomas Nelson Page
+
+Release Date: November 16, 2007 [EBook #23512]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK MAM' LYDDY'S RECOGNITION ***
+
+
+
+
+Produced by David Widger
+
+
+
+
+
+
+MAM' LYDDY'S RECOGNITION
+
+By Thomas Nelson Page
+
+Charles Scribner's Sons New York, 1908
+
+Copyright, 1891, 1904, 1906
+
+
+
+
+I
+
+When Cabell Graeme was courting pretty Betty French up at the Ch�teau
+place, though he had many rivals and not a few obstacles to overcome, he
+had the good fortune to secure one valuable ally, whose friendship stood
+him in good stead. She was of a rich chocolate tint, with good features,
+and long hair, possibly inherited from some Arab ancestor, bead-like
+black eyes, and a voice like a harp, but which on occasion could become
+a flame. Her figure was short and stocky; but more dignity was never
+compressed within the same number of cubic inches.
+
+Mam' Lyddy had been in the French family all her life, as her mother and
+grandmother had been before her. She had rocked on her ample bosom the
+best part of three generations. And when Freedom came, however much she
+may have appreciated being free, she had much too high an estimate of
+the standing of the Frenches to descend to the level of the class she
+had always contemned as "free niggers." She was a deep-dyed aristocrat.
+
+The Frenches were generally esteemed to be among the oldest and best
+families in the county, and the Ch�teau plantation, with its wide fields
+and fine old mansion, was commonly reckoned one of the finest in that
+section. But no such comparative statement would have satisfied Mam'
+Lyddy. She firmly believed that the Frenches were the greatest people in
+the world, and it would have added nothing to her dignity had they been
+princes, because it could have added nothing to it to be told that
+she was a member of a royal house. Part mentor, part dependent, part
+domestic, she knew her position, and within her province her place
+was as unquestioned as was that of her mistress, and her advice was as
+carefully considered.
+
+Caesar, her husband, a tall, ebony lath, with a bald head and meek eyes,
+had come out of another family and was treated with condescension. No
+one knew how often he was reminded of his lower estate; but it was often
+enough, for he was always in a somewhat humble and apologetic attitude.
+
+The Frenches were known as a "likely" family, but Betty, with her oval
+face, soft eyes, and skin like a magnolia flower, was so undeniably the
+beauty that she was called "Pretty Betty." She was equally undeniably
+the belle. And while the old woman, who idolized her, found far more
+pleasure than even her mother in her belleship, she was as watchful over
+her as Argus. Every young man of the many who haunted the old French
+mansion among its oaks and maples had to meet the scrutiny of those
+sharp, tack-like eyes. The least slip that one made was enough to prove
+his downfall. The old woman sifted them as surely as she sifted her
+meal, and branded them with an infallible instinct akin to that of a
+keen watchdog. Many a young man who passed that silent figure without a
+greeting, or spoke lightly of some one, unheeding her presence, wondered
+at his want of success and felt without knowing why that he was pulling
+against an unseen current.
+
+"We must drop him--he ain't a gent'man," she said of one. Of another:
+"Oh! Oh! honey, he won't do. He ain't our kind." Or, "Betty, let him go,
+my Lamb. De Frenches don't pick up dat kine o' stick."
+
+Happily for Cabell Graeme, he had the old woman's approval. In the first
+place, he was related to the Frenches, and this in her eyes was a
+patent of gentility. Then, he had always been kind to little Betty and
+particularly civil to herself. He not only never omitted to ask after
+her health, but also inquired as to her pet ailments of "misery in her
+foot" and "whirlin' in her head," with an interest which flattered her
+deeply. But it went further back than that Once, when Betty was a little
+girl, Cabell, then a well-grown boy of twelve, had found her and her
+mammy on the wrong side of a muddy road, and wading through, he had
+carried Betty across, and then wading back, had offered to carry Mam'
+Lyddy over, too.
+
+"Go way f'om heah, boy, you can't carry me."
+
+"Yes, I can, Mam' Lyddy. You don't know how strong I am." He squared
+himself for the feat.
+
+She laughed at him, and with a flash in his gray eyes he suddenly
+grabbed her.
+
+"I 'll show you."
+
+There was quite a scuffle. She was too heavy for him, but he won her
+friendship then and there, and as he grew up straight and sturdy, the
+friendship ripened. That he teased her and laughed at her did not in the
+least offend her. No one else could have taken such a liberty with
+her, but Cabell's references to old Caesar's declining health, and his
+innuendoes whenever she was "fixed up" that she was "looking around" in
+advance only amused her. It made no difference to her that he was poor,
+while several others of Betty's beaux were rich. He was "a gent'man,"
+and she was an aristocrat.
+
+At times they had pitched battles, but each knew that the other was an
+ally.
+
+Cabell won his final victory by an audacity which few would have dared
+venture on. Among his rivals was one Mr. Hereford, whom he particularly
+disliked, partly because he frequently "outsat" him, and partly because
+he thought Miss Betty favored his attentions too much, and whom Mammy
+Lyddy detested because he always ignored her. Cabell charged her with
+deserting his cause and going over to the side of Mr. Hereford, and
+threatened to carry off the prize in spite of her and her ally.
+
+"You cyant cyah off nothin'," she said with a sniff of mock disdain.
+His eyes snapped. Without a word he seized her, and notwithstanding her
+resistance he lifted her, and flinging her over his shoulder, as if she
+had been a sack of corn, stalked up the steps and into the house, where
+he set her down abashed and vanquished before her astonished young
+mistress. The old woman pretended to be furious, but that day Cabell
+Graeme carried off more than Mam' Lyddy.
+
+When Cabel and pretty Betty were married, Mam' Lyddy threw in her lot
+with "her lamb."
+
+Through all the evil days of carpet-bag rule, no white, not even Cabell
+Graeme himself, who was a leader of the young men, had looked with more
+burning contempt on the new-comers, or shown a sterner front to the
+miscreants who despoiled the country. And when Negro rule was at its
+worst, Mam' Lyddy was its most bitter reviler. Cabell Graeme was a
+captain among the young men who finally put down the evil element that
+had been running its riotous course. And during the fierce fight that
+was waged, he was much away from home; but he knew that in Mam' Lyddy he
+had left as redoubtable a guardian of his wife and babies as ever kept
+watch on a picket line.
+
+Among the most obnoxious of the colored leaders was one Amos Brown, a
+young negro with some education, who to the gift of fluency added enough
+shrewdness to become a leader. He was while in power one of the most
+dangerous men in the State, and so long as he had backing enough, he
+staggered at nothing to keep the negroes stirred up. One of his schemes
+was to get money from the negroes with which to pay, as he claimed, ten
+per cent, for the best plantations in the State, after which, according
+to his account, the Government was to give them the places. This scheme
+worked well enough till the day of reckoning came, but happily it came.
+Among those who were duped was old Caesar, who, unknown to Mam' Lyddy,
+invested all his little savings in Amos Brown's homestead-plan and was
+robbed. Partly in terror of Mam' Lyddy and partly in hopes of saving his
+money, the old man made a full disclosure of the scheme, and with the
+proof he furnished, Cabell Graeme and others succeeded in sending the
+statesman to the penitentiary.
+
+What Caesar possibly had to endure from Mam' Lyddy, only those could
+imagine who knew her blistering tongue. From that time she took herself
+not only everything that she made, but every cent that old Caesar made.
+
+"You keep 'dis for me, Marse Cab. I 'm never goin' to trust dat Caesar
+wid a cent long as I live. A nigger ain't got a bit o' sense about
+money."
+
+But though Caesar would gladly have paid all he made to purchase
+immunity from her revilings, it is probable that he heard of his error
+at least three times a day during the rest of his natural life.
+
+
+
+
+II
+
+As long as the old people lived, the French place was kept up; but the
+exactions of hereditary hospitality ate deeply into what the war had
+left, and after the death of old Colonel French and Mrs. French, and the
+division of the estate, there was little left but the land, and that was
+encumbered.
+
+Happily, Cabell Graeme was sufficiently successful as a lawyer, not
+only to keep his little family in comfort, but to receive an offer of
+a connection in the North, which made it clearly to his interest to go
+there. One of the main obstacles in the way of the move was Mam' Lyddy.
+She would have gone with them, but for the combined influences of Old
+Caesar and a henhouse full of hens that were sitting. The old man was
+in his last illness, and a slow decline, and the chickens would soon be
+hatched. Since, however, it was apparent that old C�sar would soon be
+gone, as that the chickens would soon be hatched, Graeme having arranged
+for C�sar's comfort, took his family with him when he moved.
+
+He knew that the breaking-up would be a wrench; but it was worse than
+he had expected, for their roots were deep in the old soil. Old friends,
+when they said good-by, wrung his hand with the faces men wear when
+they take a last look at a friend's face. The parting with the mammy was
+especially bitter. It brought the break-up home as few things had done.
+And when Mr. and Mrs. Graeme reached their new home with its strange
+surroundings, her absence made it all the stranger.
+
+The change in the servants marked the change in the life. The family
+found it hard to reconcile themselves to it. Mrs. Graeme had always been
+accustomed to the old servants, who were like members of the family,
+and to find her domestics regarding her as an enemy or as their prey
+disturbed and distressed her.
+
+"You are going to try colored servants?" asked one of her new friends in
+some surprise.
+
+"Oh, yes, I am quite used to them."
+
+"Well.--Perhaps--but I doubt if you are used to these."
+
+Mrs. Graeme soon discovered her mistake. One after another was tried and
+discarded. Those who knew nothing remained until they had learned enough
+to be useful and then departed, while those who knew a little thought
+they knew everything and brooked no direction. And all were insolent.
+With or without notice the dusky procession passed through the house,
+each out-goer taking with her some memento of her transient stay.
+
+"I do not know what is the matter," sighed Mrs. Graeme. "I always
+thought I could get along with colored people; but somehow these are
+different. Why is it, Cabell!"
+
+"Spoiled," said her husband, laconically. "The mistake was in the
+emancipation proclamation. _Domestic_ servants ought to have been
+excepted."
+
+His humor, however, did not appeal to his wife. The case was too
+serious.
+
+"The last one I had told me, that if I did not like what she called
+coffee--and which I really thought was tea--I 'd better cook for myself.
+And that other maid, after wearing one of my best dresses, walked off
+with a brand-new waist. I am only standing the present one till Mammy
+comes. She says she likes to be called 'Miss Johnson.'"
+
+"_I_ paid twenty dollars last week for the privilege of chucking a dusky
+gentleman down the steps; but I did not begrudge it," said her husband,
+cheerfully. "The justice who imposed the fine said to me afterward that
+the only mistake I had made was in not breaking his neck."
+
+*****
+
+At last, old Caesar was gathered to his dusky fathers, and the chickens
+having been mainly disposed of, Mr. Graeme went down and brought the old
+mammy on.
+
+He had written the old woman to come by a certain train to Washington
+where he would meet her, and true to his appointment he met that train.
+But in the motley throng that filed through the gate was no Mam' Lyddy,
+and inquiring of the train men showed that no one answering to her
+description could have been on the train.
+
+Just as Graeme was turning away to go to the telegraph desk, one of
+the gray-clad colored porters, a stout, middle-aged man with a pleasant
+voice, and the address of a gentleman, approached him,
+
+"Were you looking for some one, sir?"
+
+"Yes, for an old colored woman, my wife's old mammy."
+
+"Well, I think you may find her in the inner waiting-room. There is an
+old lady in there, who has been waiting there all day. She came in on
+the morning train, and said she was expecting you. If you will come with
+me, I will show you."
+
+"She 's been there all day," the porter said, with a laugh, as they
+walked along. "I asked who she was waiting for; but she wouldn't tell
+me. She said it was none of my business."
+
+"I fancy that 's she," said Graeme.
+
+"Yes, sir, that 's she, sure."
+
+Graeme thanked him. With a chuckle he led the way to where ensconced
+in a corner, surrounded by bundles and baskets and clad in the deepest
+black, and with a flaming red bow at her throat, sat Mammy Lyddy.
+
+"Here 's the gentleman you were looking for," said the porter kindly.
+
+At sight of Graeme she rose so hastily that many of her bundles rolled
+on the floor.
+
+"Why, Mammy! Why did n't you come on the train I wrote you to come on?"
+enquired Graeme.
+
+"Well, you tole me to come to-day, and I thought I would like to be on
+time, so I came this morning."
+
+"Now, if you will let me have your tickets, I will attend to everything
+for you," said the porter to Graeme.
+
+The old woman gave him a swift glance, and then seeing Graeme hand him
+his ticket, she turned her back, and began to fish in some mysterious
+recess in her garments, and after a long exploration brought out a small
+bag containing her ticket.
+
+"Is he one of your servants!" she asked Graeme in an undertone.
+
+Graeme smiled. "Well, I think he is--he is everybody's servant and
+friend."
+
+"I did n't know. He comes roun' inquirin' 'bout my business so officious
+I thought sure he was one o' dese Gov'ment folks, and I done had 'nough
+to do wid dat kind."
+
+"Like Amos Brown, Caesar's friend."
+
+It was a sore subject with the old woman.
+
+"Well, I did n't know--I thought he was one o' dese perliss. So I sent
+him 'long 'bout he own business. But if you know him it 's all right."
+
+The passengers who streamed through the great station the evening of
+her arrival, were surprised to see a pudgy old black woman escorted by a
+gentleman who, loaded down with her bundles and baskets, was guiding her
+through the throng as respectfully as if she had been the first lady in
+the land. At the gate a lady and several children were awaiting her,
+and at sight of her a cry of joy went up. Dropping her bundles, the old
+woman threw herself into the lady's arms and kissed her again and again,
+after which she received a multitude of kisses from the children.
+
+"Well, I never saw anything like that," said a stranger to another.
+
+"She is their mammy," said the other one simply, with a pleasant light
+in his eyes.
+
+The old woman's presence seemed to transform the house. She was no
+sooner installed than she took possession. That very morning she
+established her position, after a sharp but decisive battle with the
+airy "colored lady," who for some days had been dawdling about the
+house. The mammy had gauged her as soon as her sharp eyes fell on her.
+
+"What does yo' call yo'self?" she asked her.
+
+"What is my name? I am called 'Miss Johnson--Miss Selina Johnson.'"
+
+The old woman gave a sniff.
+
+"Yo' is! Well, what does yo' call you'self doin' heah?"
+
+"You mean what is my employment! I am the help--one of the help."
+
+"Yo' is!" Mam' Lyddy tightened her apron-strings about her stout
+waist. "Well, 'Miss Johnson,' you git holt of that mat-trass and help me
+meek up dis heah bed so it 'll be fit for you' mistis to sleep on it."
+With a jerk she turned up the mattress. The maid was so taken aback for
+a moment that she did not speak. Then she drew herself up.
+
+"I know I ain' gwine to tetch it. I done made it up onct to-day. An' I
+ain't got no mistis."
+
+The mammy turned on her.
+
+"Umh'm! I thought so! I knows jest yo' kind. Well, de sooner you git out
+o' dis room de better for you. 'Cause if I lay my han' 'pon you I won't
+let you go till I'se done what yo' mammy ought to 'a' done to you ev'y
+day o' yo' life."
+
+She moved toward her with so dangerous a gleam in her sharp little eyes
+that "Miss Johnson" deemed it safest to beat a hasty retreat, and before
+bedtime had disappeared from the premises entirely.
+
+In the kitchen the old woman had been equally strenuous. She had shown
+the cook in one evening that she knew more about cooking than that
+well-satisfied person had ever dreamed any one knew. She had taught
+the other maid that she knew by instinct every lurking place of dirt,
+however skilfully hidden, and, withal, she had inspired them both with
+so much dread of her two-edged tongue that they were doing their best to
+conciliate her by a zeal and civility they had never shown before.
+
+For the first time the Graemes knew what comfort was in their new home.
+
+"Well, this is something like home," said Mrs. Graeme that evening as
+she sat by the lamp. "Why, I feel like little Ben. He said to-night,
+'Mamma, Mammy brought old times with her.'"
+
+"May she live forever!" said Graeme.
+
+In time, however, Mrs. Graeme began to feel that the old woman was
+confining herself too closely to the house. She needed some recreation.
+She had not even been to church, and Mrs. Graeme knew that this was her
+chief delight.
+
+Yes, she would like to go to church, she said, but she did not know
+"about dese fine chutches." She did not like much to go on the streets.
+"Dere was too many strange folks around for her. Dey did n't keer
+nuthin' for her ner she for dem." And it was "de same way, she reckoned,
+with de chutches. Dey wuz new niggers, and she did n't had no use for
+dem, nor dey for her."
+
+Mrs. Graeme, however, was insistent. Not far off, she had learned, was
+a colored church, "Mount Salem," over which the Reverend Amos Johnson
+presided with much show of broadcloth and silk hat. He had considerable
+reputation as a speaker, and from time to time appeared in the
+newspapers as a rather ranting writer on matters with a political
+coloring. Mrs. Graeme explained to the old woman that she need have no
+more to do with the people than she wished, and the following Sunday she
+went herself with her to the door of the church. Before leaving her she
+gave her a half-dollar to put in the plate, and asked a solemn-looking
+usher to show her a good seat.
+
+When the old woman returned she was interested, but critical. "I'se been
+used to chutch all my life," she declared, "but I never saw no fixin's
+like dat. Br'er George Wash'n'ton Thomas of Mount Zion was de fancies'
+one I ever seen; but he could n't tetch dat man. Why, dey outdoes white
+folks!"
+
+"Were n't they nice to you!" asked her mistress.
+
+"Nor 'm', none too nice. Dat one what you spoke to for me wuz gwine to
+give me a seat; but a uppish young yaller one stopped him an' made him
+teck me back and stick me in a corner behind a pillar. But he did n't
+stick me so fur back 't dey did n't fine me when dey tecked up de money.
+When I put in dat fif'-cent you gi' me, he jumped like a pin had stick
+him. I dropped 't in so 't would soun', I tell you!"
+
+This gave Mrs. Graeme an idea, and she encouraged her to go again the
+following Sunday, and this time gave her a dollar to put in the plate.
+
+"Be sure and drop it in so it will sound," she said to her.
+
+"I 'm gwine to."
+
+"Well, how did you come out to-dayf" she asked her on her return.
+
+"Right well. Dey did n't stick me quite so fur back, and when I drap de
+dollar in dey wuz several on 'em lookin', and when de chutch was over
+dey come runnin' arter me, an', tell me ef I come next time dey 'll have
+a good seat for me. I 'm gwine agin, but fust thing dey know I 'm gwine
+to fool 'em. I ain't gwine put a dollar in agin, I know."
+
+Mrs. Graeme laughed. "Oh! you must pay for being in society. We all do."
+
+"I know _I_ ain't," declared the old woman, "and I don't reckon you
+gwine to gi' me a dollar ev 'y Sunday."
+
+"I certainly am not. I am only getting you launched."
+
+The following week Mrs. Graeme said to her husband, "I think Mammy is
+launched. The preacher came to the front door to-day and asked to see
+Mrs. Quivers. At first I did not know whom he meant. Then he said it
+was 'a colored lady.' You never saw any one so gotten up--silk hat, kid
+gloves, and ebony cane. And Mammy was quite set up by it. She says the
+preacher is from home and knew Caesar. She was really airy afterward."
+
+Mr. Graeme uttered an objurgation. "You will ruin that old woman, and
+with her the best old negro that ever was."
+
+"Oh, no," said Mrs. Graeme, "there is no danger of that. You could n't
+spoil her."
+
+A few weeks later she said: "Yes, Mammy is launched. She told me to-day
+she wanted to join the club, and when I asked, what club, she said, 'the
+Colored Ladies Siciety Club.'" "I should say she was launched," sniffed
+Mr. Graeme. "She told me she wanted her money to invest it herself. The
+old fool! They will rob her of it."
+
+
+
+
+III
+
+The weeks that followed, and Mam' Lyddy's immersion in "Siciety" began
+apparently to justify Mr. Graeme's prophecy. A marked change had taken
+place in the old woman's dress, and no less a change had taken place in
+herself. She began to go out a good deal, and her manner was quite new.
+She was what a few weeks before she would have derided as "citified and
+airified." At length Mrs. Graeme could not conceal it from herself any
+longer.
+
+One evening as her husband on his return from his office threw himself
+on his chair with the evening paper, she brought up the subject.
+
+"Cabell, it is true; you have noticed the change!"
+
+"What? I have no doubt I have." He glanced at his wife to see if she had
+on a new dress or had changed the mode of wearing her hair, then gazed
+about him rather uneasily to see if the furniture had been shifted
+about, or if the pictures had been changed; points on which his wife was
+inclined to be particular.
+
+"The change in Mammy! Why, I should never know her for the same person."
+
+"Of course, I have. I have noticed nothing else. Why, she is dressed as
+fine as a fiddle. She is 'taking notice.' She 'll be giving Old Caesar
+a successor. Then what will you do? I thought that fat darky I have seen
+going in at the back gate with a silk hat and a long-tailed coat looked
+like a preacher. You 'd better look out for him. You know she was always
+stuck on preachers. He is a preacher, sure."
+
+"He is," observed the small boy on the floor. "That 's the Reverend Mr.
+Johnson. And, oh! He certainly can blow beautiful smoke-rings. He can
+blow a whole dozen and make 'em go through each other. You just ought to
+see him, papa."
+
+His father glanced casually at the cigar box on the table.
+
+"I think I will some day," said he, half grimly.
+
+"I never would know her for the same person. Why, she is so changed!"
+pursued Mrs. Graeme. "She goes out half the time, and this morning she
+was so cross! She says she is as good as I am if she is black. She is
+getting like these others up here."
+
+Mr. Graeme flung down the paper he was reading.
+
+"It is these Northern negroes who have upset her, and the fools like the
+editor of that paper who have upset them."
+
+Mrs. Graeme looked reflective.
+
+"That preacher has been coming here a good deal lately. I wonder if that
+could have anything to do with it!" she said, slowly.
+
+Her husband sniffed.
+
+"I will find out."
+
+At that moment the door opened and in walked Mam' Lyddy and a small boy
+in all the glory of five years, and all the pride of his first pair of
+breeches. The old woman's face wore an expression of glumness wholly
+new to her, and Mr. Graeme's mouth tightened. His wife had only time to
+whisper: "Now, don't you say a word to her." But she was too late. Mam'
+Lyddy's expression drove him to disobedience. He gave her a keen glance,
+and then said, half jocularly: "Old woman, what is the matter with you
+lately!"
+
+Mam' Lyddy did not answer immediately. She looked away, then said: "Wid
+me? Ain't nuttin' de matter wid me."
+
+"Oh, yes, there is. What is it? Do you want to go home?"
+
+She appeared half startled for an instant, then answered more sharply:
+"Nor, I don't wan' go home. I ain' got no home to go to."
+
+"Oh, yes, you have. Well, what is the matter? Out with it. Have you lost
+any money!"
+
+"Nor, I ain' lost no money 's _I_ knows on."
+
+"Been playing lottery?"
+
+"I don' know what dat is."
+
+"You don't, ah! Well, you would if you had been in Wall Street lately.
+Well, what is the matter? You are going around here as glum as a
+meat-axe. Something 's up. What is it?"
+
+"Ain' nothin' de matter wid _me_." She glanced away under her master's
+half amused, half disdainful glance, then added half surlily: "I wants
+_rec'nition_."
+
+"Want recognition? What do you mean?"
+
+"Dat 's what _we_ wants," declared the old woman, acquiring courage.
+
+Graeme laughed.
+
+"What is recognition?"
+
+"I don't know what 't is edzac'ly, but dat's what we _wants_. You all 's
+got it and you got to gi' it to _us_."
+
+"You mean you want to sit at table with us!" exclaimed Mrs. Graeme.
+
+Mammy Lyddy turned toward her. "You know I don't mean nuttin' like dat!
+I leetle more 'n smacked that yaller gal' what you call you' maid over
+'bout talkin' dat way t'other day."
+
+"Then what do you want!"
+
+"I wants _rec'nition_--dat's all I wants."
+
+"Who told you to say that!" asked Mr. Graeme.
+
+"Who tol' me to say dat?" She was puzzled.
+
+"Yes."
+
+"Ain' nobody tol' me to say it."
+
+"Yes, some one has. Who was it?---the Reverend Johnson? Did n't he tell
+you that!"
+
+She hesitated; but Mr. Graeme's eye was searching.
+
+"Well, he no mo' 'n others--no _much_ mo'. Of co'se, he tol' me dat--he
+_preaches_ 'bout it; but did n't nobody _have_ to tell me--I knows 'bout
+it myself."
+
+"Of course you did, and you must have it. So shall the Reverend Mr.
+Johnson," said Mr. Graeme. His tone expressed such sudden amiability
+that the old woman glanced at him suspiciously, but he was smiling
+softly and thoughtfully to himself.
+
+"What did you do with the four hundred and fifty-five dollars you drew
+out of bank last week? Did you invest it or lend it to Mr. Johnson?" It
+was a bow drawn at venture, but the arrow hit the mark, as Mr. Graeme
+saw.
+
+"I 'vested it."
+
+"You mean Mr. Johnson invested it for you? By the way, what is his first
+name!"
+
+"Yes, sir. His name 's de Rev. Amos Johnson."
+
+"By George! I thought so," said Graeme, half aloud. "I saw him at the
+races last week. I knew I had seen him before." His countenance grew
+suddenly cheerful.
+
+"What did he give you to show for it?"
+
+"He did n't gi' me nothin'. He 's gwine to draw the intrust for me."
+
+"Oh! I thought so. Well, I want to see the Rev. Mr. Johnson when he
+comes next time. When do you expect him?"
+
+"I ain't 'pectin' him 't all. He comes sometimes. He was a friend o'
+C�sar's."
+
+"Ah! he was! So I thought. Comes to smoke a cigar, I suppose!"
+
+She looked so uneasy that he went on casually: "Well, it 's very well;
+always keep in with the cloth. He is a fine preacher, I hear! Keeps
+quite up with the times--interested in the races in more senses than
+one."
+
+"Yes, sir; he preaches very well."
+
+"That is all. Well, your friend must have 'rec'nition.'"
+
+The old woman withdrew.
+
+The following day Graeme went down to a detective agency and left a
+memorandum. A few days later he received a message from the agency:
+"Yes, he is the same man. He frequents the pool-rooms a good deal. Came
+from Kentucky. He used to be known as 'Amos Brown.'"
+
+
+
+
+IV
+
+For some days Mr. Graeme took to coming home earlier than usual, and one
+evening he was rewarded. Just after his arrival little Ben came in,
+and, climbing up to his cigar box, took out several cigars, and silently
+withdrew. As soon as he had disappeared his father stepped to the
+telephone, and, calling up the detective agency, asked that an officer
+be sent around to his house immediately. A few minutes later the officer
+arrived, and after a few words with him Mr. Graeme stationed him at the
+back gate and strolled back toward the kitchen. As he softly approached
+the door he heard voices within-one of them his little boy's voice, the
+other the deep, unctuous tones of a negro man. The child was begging the
+latter to blow smoke-wreaths, and the man was bartering with him.
+
+"Well, you must get me _more_ cigars; remember what I told you--six
+wreaths for one cigar."
+
+At this moment the mammy evidently came in, for Mr. Graeme heard the man
+caution the child, and heard her voice for the first time,
+
+"What dat you telling dat chile?" she demanded, suspiciously.
+
+"Nothing. I was just entertaining him by blowing a few of those artistic
+wreaths he admires so much. My good friends keep me in cigars. It is one
+of the few consolations in a hard-working pastor's life. Well, sister,
+I called around to tell you your investment promises to be even more
+remunerative than I expected--and to tell you if you have any more,
+or even can borrow any, to let me place it as you did the other. I can
+guarantee to double it for you in a short time."
+
+"I ain' got any more--an' ain' got nobody to lend me none."
+
+"Well, ah! Could n 't you get any from your employer?" He lowered
+his voice; but Graeme caught the words. "You could raise money on the
+silver--and they would never know it. Besides, they owe it to you for
+all the work you have done without payment. Think how many years you
+worked for them as a slave without pay."
+
+"Now, I ain' gwine to do dat!" exclaimed the old woman.
+
+At this moment Graeme softly opened the door. The mammy was standing
+with her back to him, and in one chair, tilted back with his feet in
+another chair, was a large and unctuous-looking negro of middle age, in
+all the glory of a black broadcloth coat and a white tie. He was engaged
+at the moment in blowing small wreaths, while little Ben stood by and
+gazed at him with open-eyed wonder and delight.
+
+At sight of Mr. Graeme, the preacher with a gulp, which sadly disturbed
+his last effort, rose to his feet. An expression of fear flitted across
+his face, then gave way to a crafty, half-insolent look.
+
+"Good evening, sir," he began, with an insinuating smile, not wholly
+free from uneasiness.
+
+"Good evening, Amos. Mammy, will you kindly go to your mistress. Take
+the boy with you. Run along, son."
+
+The old woman with a half-scared air led the child out, and Mr.
+Graeme closed the door and turned back to the visitor, who looked much
+embarrassed.
+
+"Take my cigars out of your pocket."
+
+The preacher's hand went involuntarily to his breast-pocket, and then
+came down.
+
+"What! Your cigars out of my pocket? I have no cigars of yours, sir." He
+spoke with slightly rising severity, as Mr. Graeme remained so calm.
+
+"Oh, yes, you have. But no matter for the present. You had just as well
+leave them there for a moment. What are you doing, coming here all the
+time?"
+
+"What am I doing?--Coming here? I am a minister of the Gawspel, sir, and
+I have a member of my congregation here, and I come to look after her
+welfare."
+
+"And to see that she gets recognition?"
+
+"Suh?"--with a wince.
+
+"And incidentally to rob me of my cigars, and her of her small
+savings"--pursued Mr. Graeme, calmly.
+
+"Suh? Nor, suh, I has not done dat I will take my oath to it on the word
+of Almighty God."
+
+The veneer of his fine speech had all been dropped, and the Rev. Johnson
+was talking naturally enough now.
+
+"What did you do with that money you took from her?"
+
+"What did I do wid--? What money?"
+
+Mr. Graeme showed impatience for the first time.
+
+"The four hundred and fifty-five dollars you got from her. Was there
+more than that?"
+
+At this point Mam' Lyddy opened the door and came in. She looked
+somewhat mystified and rather disturbed, but she said nothing. She only
+took her stand, and with arms folded waited silent and observant.
+
+The negro saw that Mr. Graeme knew of the fact and answered promptly.
+
+"Oh! You are mistaken, sir. I have taken no money of her. You can ax
+her. She had a sum of money which I as a favor to her invested for her.
+You can ask the sister there. I suppose you refer to that!"
+
+"Invested! In what?"
+
+"Ah--ur--in--ur--the Afro-American Sister's Loan and Trust Association.
+I have promised to invest it in that for her."
+
+He stammered a good deal at the start, but was glib enough when he
+brought out the name. "Didn't I, sister!"
+
+"Yes, sir." The old woman was manifestly impressed. The preacher's
+cunning face brightened.
+
+"You see what she says?"
+
+"With its chief office at the Race-course out here," said Graeme, with a
+toss of his head. "Look here, I want you to get that money."
+
+The negro shot a glance at Mam' Lyddy and decided that she would stand
+by him. He suddenly stiffened up and resumed his affected manner.
+
+"Well, sir, I do not know by what right you interfere with my
+affairs--or this lady's."
+
+"You don 't? Well, that's what I am going to show you now. My right is
+that she is a member of my family, whom I am going to protect from just
+such scoundrels and thieves as you, Amos Brown."
+
+The preacher received the name like a blow.
+
+At the words the old mammy jumped as if she were shot. She leaned
+forward, moving up slowly.
+
+"What's dat?--'Amos _Brown_'? What's dat you said, Marse Cabell? 'Amos
+_Brown_'?"
+
+Mr. Graeme nodded. "Yes. This is Amos Brown, 'a friend of Caesar's.'"
+
+"Indeed, I ain 't suh. I'm de Reverend Amos Johnson--" began the
+preacher, but his looks belied him. Mammy Lyddy took in the truth, and
+the next second the storm broke.
+
+"'Amos Brown' you is? I might 'a' knowd it! You thief! You a friend of
+Caesar's! Whar's my money?--My money you stole from Caesar? You come
+talkin' to me 'bout rec'nition? I done rec'nize you, you black nigger.
+Let me get at him, Marse Gabelle."
+
+The old woman swept toward him with so threatening an air that Graeme
+interposed, and the preacher retreated behind him for protection. Even
+that place of security did not, however, save him from her vitriolic
+tongue. She poured out on him the vials of her wrath till Graeme,
+fearing she might drop down in a faint, stopped her.
+
+"Stop now. I will settle with him."
+
+His authoritative air quieted her, but she still stood glowering and
+muttering her wrath.
+
+"You will have that money back here by to-morrow at this hour or I will
+put you in the penitentiary, where you have already been once and ought
+to be now. And now you will take my cigars out of your pocket, or I will
+hand you to that policeman out there at the door. Out with them."
+
+"Boss, I ain't got no cigars o' yo's. I 'll swar to it on de wud o'----"
+
+"Out with them--or--" Mr. Graeme turned to open the door. The negro,
+after a glance at Mam' Lyddy, slowly took several cigars from his
+pockets.
+
+"Dese is all de cigars I has--and dey wuz given to me by a friend," he
+said, surlily.
+
+"Yes, by my little boy. I know. Lay them there. I will keep them till
+to-morrow. And now go and get that money."
+
+"What money?--I can't git dat money--dat money is invested."
+
+"Then you bring the securities in which it is invested. I know where
+that money went. You go and rob some one else--but have that money at my
+office to-morrow before three o'clock or I 'll put you in jail to-morrow
+night. And if you ever put your foot on this place or speak to that old
+woman again, I 'll have you arrested. Do you understand!"
+
+"Yes, sir."
+
+"Now go." He opened the door.
+
+"Officer, do you recognize this man!"
+
+"Yes, sir, I know him."
+
+"Well, I am going to let him go for the present"
+
+The Rev. Amos was already slinking down the street. Mr. Graeme turned to
+the old woman.
+
+"You want recognition?"
+
+"Nor, suh, I don't" She gave a whimper. "I wants my money. I wants to
+git hold of dat black nigger what 's done rob me talkin' 'bout bein'
+sich a friend o' Caesar's."
+
+"Do you want to go home?"
+
+"Dis is my home." She spoke humbly, but firmly.
+
+Two days afterward Mrs. Graeme said:
+
+"Cabell, Mammy is converted. It is like old times."
+
+"I think it will last," said her husband. "She is out four hundred and
+fifty-five dollars, and the Mount Salem flock is temporarily without
+a shepherd. The Rev. Amos Johnson was gathered in this morning for
+fleecing one of his sheep and signing the wrong name to a check."
+
+
+
+
+
+
+End of Project Gutenberg's Mam' Lyddy's Recognition, by Thomas Nelson Page
+
+*** END OF THIS PROJECT GUTENBERG EBOOK MAM' LYDDY'S RECOGNITION ***
+
+***** This file should be named 23512-8.txt or 23512-8.zip *****
+This and all associated files of various formats will be found in:
+        http://www.gutenberg.org/2/3/5/1/23512/
+
+Produced by David Widger
+
+Updated editions will replace the previous one--the old editions
+will be renamed.
+
+Creating the works from public domain print editions 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-tm electronic works to
+protect the PROJECT GUTENBERG-tm concept and trademark.  Project
+Gutenberg is a registered trademark, and may not be used if you
+charge for the eBooks, unless you receive specific permission.  If you
+do not charge anything for copies of this eBook, complying with the
+rules is very easy.  You may use this eBook for nearly any purpose
+such as creation of derivative works, reports, performances and
+research.  They may be modified and printed and given away--you may do
+practically ANYTHING with public domain eBooks.  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-tm 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-tm License (available with this file or online at
+http://gutenberg.org/license).
+
+
+Section 1.  General Terms of Use and Redistributing Project Gutenberg-tm
+electronic works
+
+1.A.  By reading or using any part of this Project Gutenberg-tm
+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-tm electronic works in your possession.
+If you paid a fee for obtaining a copy of or access to a Project
+Gutenberg-tm 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-tm 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-tm electronic works if you follow the terms of this agreement
+and help preserve free future access to Project Gutenberg-tm 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-tm electronic works.  Nearly all the individual works in the
+collection are in the public domain in the United States.  If an
+individual work is in the public domain 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-tm mission of promoting free access to electronic works by
+freely sharing Project Gutenberg-tm works in compliance with the terms of
+this agreement for keeping the Project Gutenberg-tm 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-tm 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-tm work.  The Foundation makes no representations concerning
+the copyright status of any work in any country outside 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-tm License must appear prominently
+whenever any copy of a Project Gutenberg-tm 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 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
+
+1.E.2.  If an individual Project Gutenberg-tm electronic work is derived
+from the public domain (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-tm trademark as set forth in paragraphs 1.E.8 or
+1.E.9.
+
+1.E.3.  If an individual Project Gutenberg-tm 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-tm 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-tm
+License terms from this work, or any files containing a part of this
+work or any other work associated with Project Gutenberg-tm.
+
+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-tm 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-tm work in a format other than
+"Plain Vanilla ASCII" or other format used in the official version
+posted on the official Project Gutenberg-tm web site (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-tm
+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-tm 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-tm electronic works provided
+that
+
+- You pay a royalty fee of 20% of the gross profits you derive from
+     the use of Project Gutenberg-tm works calculated using the method
+     you already use to calculate your applicable taxes.  The fee is
+     owed to the owner of the Project Gutenberg-tm 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-tm
+     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-tm 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-tm works.
+
+1.E.9.  If you wish to charge a fee or distribute a Project Gutenberg-tm
+electronic work or group of works on different terms than are set
+forth in this agreement, you must obtain permission in writing from
+both the Project Gutenberg Literary Archive Foundation and Michael
+Hart, the owner of the Project Gutenberg-tm 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
+public domain works in creating the Project Gutenberg-tm
+collection.  Despite these efforts, Project Gutenberg-tm 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-tm trademark, and any other party distributing a Project
+Gutenberg-tm 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 F3.  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 MERCHANTIBILITY 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-tm electronic works in accordance
+with this agreement, and any volunteers associated with the production,
+promotion and distribution of Project Gutenberg-tm 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-tm
+work, (b) alteration, modification, or additions or deletions to any
+Project Gutenberg-tm work, and (c) any Defect you cause.
+
+
+Section  2.  Information about the Mission of Project Gutenberg-tm
+
+Project Gutenberg-tm 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, is critical to reaching Project Gutenberg-tm's
+goals and ensuring that the Project Gutenberg-tm 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-tm 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 web page at http://www.pglaf.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.  Its 501(c)(3) letter is posted at
+http://pglaf.org/fundraising.  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 principal office is located at 4557 Melan Dr. S.
+Fairbanks, AK, 99712., but its volunteers and employees are scattered
+throughout numerous locations.  Its business office is located at
+809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
+business@pglaf.org.  Email contact links and up to date contact
+information can be found at the Foundation's web site and official
+page at http://pglaf.org
+
+For additional contact information:
+     Dr. Gregory B. Newby
+     Chief Executive and Director
+     gbnewby@pglaf.org
+
+
+Section 4.  Information about Donations to the Project Gutenberg
+Literary Archive Foundation
+
+Project Gutenberg-tm depends upon and cannot survive without wide
+spread 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 http://pglaf.org
+
+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: http://pglaf.org/donate
+
+
+Section 5.  General Information About Project Gutenberg-tm electronic
+works.
+
+Professor Michael S. Hart is the originator of the Project Gutenberg-tm
+concept of a library of electronic works that could be freely shared
+with anyone.  For thirty years, he produced and distributed Project
+Gutenberg-tm eBooks with only a loose network of volunteer support.
+
+
+Project Gutenberg-tm eBooks are often created from several printed
+editions, all of which are confirmed as Public Domain 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 Web site which has the main PG search facility:
+
+     http://www.gutenberg.org
+
+This Web site includes information about Project Gutenberg-tm,
+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.
diff --git a/23512-8.zip b/23512-8.zip
new file mode 100644
index 0000000..657a26e
--- /dev/null
+++ b/23512-8.zip
diff --git a/23512-h.zip b/23512-h.zip
new file mode 100644
index 0000000..54c5adc
--- /dev/null
+++ b/23512-h.zip
diff --git a/23512-h/23512-h.htm b/23512-h/23512-h.htm
new file mode 100644
index 0000000..b21983b
--- /dev/null
+++ b/23512-h/23512-h.htm
@@ -0,0 +1,1563 @@
+<?xml version="1.0" encoding="utf-8"?>
+
+<!DOCTYPE html
+   PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
+   "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd" >
+
+<html xmlns="http://www.w3.org/1999/xhtml" lang="en">
+  <head>
+    <meta http-equiv="Content-Type" content="text/html;charset=UTF-8" />
+    <title>
+      Mam' Lyddy's Recognition, by Thomas Nelson Page
+    </title>
+    <style type="text/css" xml:space="preserve">
+
+    body { margin:5%; background:#faebd0; text-align:justify}
+    P { text-indent: 1em; margin-top: .25em; margin-bottom: .25em; }
+    H1,H2,H3,H4,H5,H6 { text-align: center; margin-left: 15%; margin-right: 15%; }
+    hr  { width: 50%; text-align: center;}
+    .foot { margin-left: 20%; margin-right: 20%; text-align: justify; text-indent: -3em; font-size: 90%; }
+    blockquote {font-size: 97%; font-style: italic; margin-left: 10%; margin-right: 10%;}
+    .mynote    {background-color: #DDE; color: #000; padding: .5em; margin-left: 10%; margin-right: 10%; font-family: sans-serif; font-size: 95%;}
+    .toc       { margin-left: 10%; margin-bottom: .75em;}
+    .toc2      { margin-left: 20%;}
+    div.fig    { display:block; margin:0 auto; text-align:center; }
+    div.middle { margin-left: 20%; margin-right: 20%; text-align: justify; }
+    .figleft   {float: left; margin-left: 0%; margin-right: 1%;}
+    .figright  {float: right; margin-right: 0%; margin-left: 1%;}
+    .pagenum   {display:inline; font-size: 70%; font-style:normal;
+               margin: 0; padding: 0; position: absolute; right: 1%;
+               text-align: right;}
+    pre        { font-style: italic; font-size: 90%; margin-left: 10%;}
+
+</style>
+  </head>
+  <body>
+<pre xml:space="preserve">
+
+Project Gutenberg's Mam' Lyddy's Recognition, by Thomas Nelson Page
+
+This eBook is for the use of anyone anywhere 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
+
+
+Title: Mam' Lyddy's Recognition
+       1908
+
+Author: Thomas Nelson Page
+
+Release Date: November 16, 2007 [EBook #23512]
+Last Updated: March 8, 2018
+
+Language: English
+
+Character set encoding: UTF-8
+
+*** START OF THIS PROJECT GUTENBERG EBOOK MAM' LYDDY'S RECOGNITION ***
+
+
+
+
+Produced by David Widger
+
+
+
+
+
+</pre>
+    <div style="height: 8em;">
+      <br /><br /><br /><br /><br /><br /><br /><br />
+    </div>
+    <h1>
+      MAM' LYDDY'S RECOGNITION
+    </h1>
+    <h2>
+      By Thomas Nelson Page <br /> <br /> Charles Scribner's Sons New York, 1908
+      <br /><br /> Copyright, 1891, 1904, 1906
+    </h2>
+    <p>
+      <br /> <br />
+    </p>
+    <hr />
+    <p>
+      <br /> <br />
+    </p>
+    <h2>
+      Contents
+    </h2>
+    <table summary="" style="margin-right: auto; margin-left: auto">
+      <tr>
+        <td>
+          <p class="toc">
+            <a href="#link2H_4_0001"> I </a>
+          </p>
+          <p class="toc">
+            <a href="#link2H_4_0002"> II </a>
+          </p>
+          <p class="toc">
+            <a href="#link2H_4_0003"> III </a>
+          </p>
+          <p class="toc">
+            <a href="#link2H_4_0004"> IV </a>
+          </p>
+        </td>
+      </tr>
+    </table>
+    <p>
+      <br /> <br />
+    </p>
+    <hr />
+    <p>
+      <br /> <br /> <a name="link2H_4_0001" id="link2H_4_0001">
+      <!--  H2 anchor --> </a>
+    </p>
+    <div style="height: 4em;">
+      <br /><br /><br /><br />
+    </div>
+    <h2>
+      I
+    </h2>
+    <p>
+      When Cabell Graeme was courting pretty Betty French up at the Château
+      place, though he had many rivals and not a few obstacles to overcome, he
+      had the good fortune to secure one valuable ally, whose friendship stood
+      him in good stead. She was of a rich chocolate tint, with good features,
+      and long hair, possibly inherited from some Arab ancestor, bead-like black
+      eyes, and a voice like a harp, but which on occasion could become a flame.
+      Her figure was short and stocky; but more dignity was never compressed
+      within the same number of cubic inches.
+    </p>
+    <p>
+      Mam' Lyddy had been in the French family all her life, as her mother and
+      grandmother had been before her. She had rocked on her ample bosom the
+      best part of three generations. And when Freedom came, however much she
+      may have appreciated being free, she had much too high an estimate of the
+      standing of the Frenches to descend to the level of the class she had
+      always contemned as &ldquo;free niggers.&rdquo; She was a deep-dyed aristocrat.
+    </p>
+    <p>
+      The Frenches were generally esteemed to be among the oldest and best
+      families in the county, and the Château plantation, with its wide fields
+      and fine old mansion, was commonly reckoned one of the finest in that
+      section. But no such comparative statement would have satisfied Mam'
+      Lyddy. She firmly believed that the Frenches were the greatest people in
+      the world, and it would have added nothing to her dignity had they been
+      princes, because it could have added nothing to it to be told that she was
+      a member of a royal house. Part mentor, part dependent, part domestic, she
+      knew her position, and within her province her place was as unquestioned
+      as was that of her mistress, and her advice was as carefully considered.
+    </p>
+    <p>
+      Caesar, her husband, a tall, ebony lath, with a bald head and meek eyes,
+      had come out of another family and was treated with condescension. No one
+      knew how often he was reminded of his lower estate; but it was often
+      enough, for he was always in a somewhat humble and apologetic attitude.
+    </p>
+    <p>
+      The Frenches were known as a &ldquo;likely&rdquo; family, but Betty, with her oval
+      face, soft eyes, and skin like a magnolia flower, was so undeniably the
+      beauty that she was called &ldquo;Pretty Betty.&rdquo; She was equally undeniably the
+      belle. And while the old woman, who idolized her, found far more pleasure
+      than even her mother in her belleship, she was as watchful over her as
+      Argus. Every young man of the many who haunted the old French mansion
+      among its oaks and maples had to meet the scrutiny of those sharp,
+      tack-like eyes. The least slip that one made was enough to prove his
+      downfall. The old woman sifted them as surely as she sifted her meal, and
+      branded them with an infallible instinct akin to that of a keen watchdog.
+      Many a young man who passed that silent figure without a greeting, or
+      spoke lightly of some one, unheeding her presence, wondered at his want of
+      success and felt without knowing why that he was pulling against an unseen
+      current.
+    </p>
+    <p>
+      &ldquo;We must drop him&mdash;he ain't a gent'man,&rdquo; she said of one. Of another:
+      &ldquo;Oh! Oh! honey, he won't do. He ain't our kind.&rdquo; Or, &ldquo;Betty, let him go,
+      my Lamb. De Frenches don't pick up dat kine o' stick.&rdquo;
+     </p>
+    <p>
+      Happily for Cabell Graeme, he had the old woman's approval. In the first
+      place, he was related to the Frenches, and this in her eyes was a patent
+      of gentility. Then, he had always been kind to little Betty and
+      particularly civil to herself. He not only never omitted to ask after her
+      health, but also inquired as to her pet ailments of &ldquo;misery in her foot&rdquo;
+       and &ldquo;whirlin' in her head,&rdquo; with an interest which flattered her deeply.
+      But it went further back than that Once, when Betty was a little girl,
+      Cabell, then a well-grown boy of twelve, had found her and her mammy on
+      the wrong side of a muddy road, and wading through, he had carried Betty
+      across, and then wading back, had offered to carry Mam' Lyddy over, too.
+    </p>
+    <p>
+      &ldquo;Go way f'om heah, boy, you can't carry me.&rdquo;
+     </p>
+    <p>
+      &ldquo;Yes, I can, Mam' Lyddy. You don't know how strong I am.&rdquo; He squared
+      himself for the feat.
+    </p>
+    <p>
+      She laughed at him, and with a flash in his gray eyes he suddenly grabbed
+      her.
+    </p>
+    <p>
+      &ldquo;I 'll show you.&rdquo;
+     </p>
+    <p>
+      There was quite a scuffle. She was too heavy for him, but he won her
+      friendship then and there, and as he grew up straight and sturdy, the
+      friendship ripened. That he teased her and laughed at her did not in the
+      least offend her. No one else could have taken such a liberty with her,
+      but Cabell's references to old Caesar's declining health, and his
+      innuendoes whenever she was &ldquo;fixed up&rdquo; that she was &ldquo;looking around&rdquo; in
+      advance only amused her. It made no difference to her that he was poor,
+      while several others of Betty's beaux were rich. He was &ldquo;a gent'man,&rdquo; and
+      she was an aristocrat.
+    </p>
+    <p>
+      At times they had pitched battles, but each knew that the other was an
+      ally.
+    </p>
+    <p>
+      Cabell won his final victory by an audacity which few would have dared
+      venture on. Among his rivals was one Mr. Hereford, whom he particularly
+      disliked, partly because he frequently &ldquo;outsat&rdquo; him, and partly because he
+      thought Miss Betty favored his attentions too much, and whom Mammy Lyddy
+      detested because he always ignored her. Cabell charged her with deserting
+      his cause and going over to the side of Mr. Hereford, and threatened to
+      carry off the prize in spite of her and her ally.
+    </p>
+    <p>
+      &ldquo;You cyant cyah off nothin',&rdquo; she said with a sniff of mock disdain. His
+      eyes snapped. Without a word he seized her, and notwithstanding her
+      resistance he lifted her, and flinging her over his shoulder, as if she
+      had been a sack of corn, stalked up the steps and into the house, where he
+      set her down abashed and vanquished before her astonished young mistress.
+      The old woman pretended to be furious, but that day Cabell Graeme carried
+      off more than Mam' Lyddy.
+    </p>
+    <p>
+      When Cabel and pretty Betty were married, Mam' Lyddy threw in her lot with
+      &ldquo;her lamb.&rdquo;
+     </p>
+    <p>
+      Through all the evil days of carpet-bag rule, no white, not even Cabell
+      Graeme himself, who was a leader of the young men, had looked with more
+      burning contempt on the new-comers, or shown a sterner front to the
+      miscreants who despoiled the country. And when Negro rule was at its
+      worst, Mam' Lyddy was its most bitter reviler. Cabell Graeme was a captain
+      among the young men who finally put down the evil element that had been
+      running its riotous course. And during the fierce fight that was waged, he
+      was much away from home; but he knew that in Mam' Lyddy he had left as
+      redoubtable a guardian of his wife and babies as ever kept watch on a
+      picket line.
+    </p>
+    <p>
+      Among the most obnoxious of the colored leaders was one Amos Brown, a
+      young negro with some education, who to the gift of fluency added enough
+      shrewdness to become a leader. He was while in power one of the most
+      dangerous men in the State, and so long as he had backing enough, he
+      staggered at nothing to keep the negroes stirred up. One of his schemes
+      was to get money from the negroes with which to pay, as he claimed, ten
+      per cent, for the best plantations in the State, after which, according to
+      his account, the Government was to give them the places. This scheme
+      worked well enough till the day of reckoning came, but happily it came.
+      Among those who were duped was old Caesar, who, unknown to Mam' Lyddy,
+      invested all his little savings in Amos Brown's homestead-plan and was
+      robbed. Partly in terror of Mam' Lyddy and partly in hopes of saving his
+      money, the old man made a full disclosure of the scheme, and with the
+      proof he furnished, Cabell Graeme and others succeeded in sending the
+      statesman to the penitentiary.
+    </p>
+    <p>
+      What Caesar possibly had to endure from Mam' Lyddy, only those could
+      imagine who knew her blistering tongue. From that time she took herself
+      not only everything that she made, but every cent that old Caesar made.
+    </p>
+    <p>
+      &ldquo;You keep 'dis for me, Marse Cab. I 'm never goin' to trust dat Caesar wid
+      a cent long as I live. A nigger ain't got a bit o' sense about money.&rdquo;
+     </p>
+    <p>
+      But though Caesar would gladly have paid all he made to purchase immunity
+      from her revilings, it is probable that he heard of his error at least
+      three times a day during the rest of his natural life.
+    </p>
+    <p>
+      <a name="link2H_4_0002" id="link2H_4_0002">
+      <!--  H2 anchor --> </a>
+    </p>
+    <div style="height: 4em;">
+      <br /><br /><br /><br />
+    </div>
+    <h2>
+      II
+    </h2>
+    <p>
+      As long as the old people lived, the French place was kept up; but the
+      exactions of hereditary hospitality ate deeply into what the war had left,
+      and after the death of old Colonel French and Mrs. French, and the
+      division of the estate, there was little left but the land, and that was
+      encumbered.
+    </p>
+    <p>
+      Happily, Cabell Graeme was sufficiently successful as a lawyer, not only
+      to keep his little family in comfort, but to receive an offer of a
+      connection in the North, which made it clearly to his interest to go
+      there. One of the main obstacles in the way of the move was Mam' Lyddy.
+      She would have gone with them, but for the combined influences of Old
+      Caesar and a henhouse full of hens that were sitting. The old man was in
+      his last illness, and a slow decline, and the chickens would soon be
+      hatched. Since, however, it was apparent that old Cæsar would soon be
+      gone, as that the chickens would soon be hatched, Graeme having arranged
+      for Cæsar's comfort, took his family with him when he moved.
+    </p>
+    <p>
+      He knew that the breaking-up would be a wrench; but it was worse than he
+      had expected, for their roots were deep in the old soil. Old friends, when
+      they said good-by, wrung his hand with the faces men wear when they take a
+      last look at a friend's face. The parting with the mammy was especially
+      bitter. It brought the break-up home as few things had done. And when Mr.
+      and Mrs. Graeme reached their new home with its strange surroundings, her
+      absence made it all the stranger.
+    </p>
+    <p>
+      The change in the servants marked the change in the life. The family found
+      it hard to reconcile themselves to it. Mrs. Graeme had always been
+      accustomed to the old servants, who were like members of the family, and
+      to find her domestics regarding her as an enemy or as their prey disturbed
+      and distressed her.
+    </p>
+    <p>
+      &ldquo;You are going to try colored servants?&rdquo; asked one of her new friends in
+      some surprise.
+    </p>
+    <p>
+      &ldquo;Oh, yes, I am quite used to them.&rdquo;
+     </p>
+    <p>
+      &ldquo;Well.&mdash;Perhaps&mdash;but I doubt if you are used to these.&rdquo;
+     </p>
+    <p>
+      Mrs. Graeme soon discovered her mistake. One after another was tried and
+      discarded. Those who knew nothing remained until they had learned enough
+      to be useful and then departed, while those who knew a little thought they
+      knew everything and brooked no direction. And all were insolent. With or
+      without notice the dusky procession passed through the house, each
+      out-goer taking with her some memento of her transient stay.
+    </p>
+    <p>
+      &ldquo;I do not know what is the matter,&rdquo; sighed Mrs. Graeme. &ldquo;I always thought
+      I could get along with colored people; but somehow these are different.
+      Why is it, Cabell!&rdquo;
+     </p>
+    <p>
+      &ldquo;Spoiled,&rdquo; said her husband, laconically. &ldquo;The mistake was in the
+      emancipation proclamation. <i>Domestic</i> servants ought to have been
+      excepted.&rdquo;
+     </p>
+    <p>
+      His humor, however, did not appeal to his wife. The case was too serious.
+    </p>
+    <p>
+      &ldquo;The last one I had told me, that if I did not like what she called coffee&mdash;and
+      which I really thought was tea&mdash;I 'd better cook for myself. And that
+      other maid, after wearing one of my best dresses, walked off with a
+      brand-new waist. I am only standing the present one till Mammy comes. She
+      says she likes to be called 'Miss Johnson.'&rdquo;
+     </p>
+    <p>
+      &ldquo;<i>I</i> paid twenty dollars last week for the privilege of chucking a
+      dusky gentleman down the steps; but I did not begrudge it,&rdquo; said her
+      husband, cheerfully. &ldquo;The justice who imposed the fine said to me
+      afterward that the only mistake I had made was in not breaking his neck.&rdquo;
+     </p>
+    <hr />
+    <p>
+      At last, old Caesar was gathered to his dusky fathers, and the chickens
+      having been mainly disposed of, Mr. Graeme went down and brought the old
+      mammy on.
+    </p>
+    <p>
+      He had written the old woman to come by a certain train to Washington
+      where he would meet her, and true to his appointment he met that train.
+      But in the motley throng that filed through the gate was no Mam' Lyddy,
+      and inquiring of the train men showed that no one answering to her
+      description could have been on the train.
+    </p>
+    <p>
+      Just as Graeme was turning away to go to the telegraph desk, one of the
+      gray-clad colored porters, a stout, middle-aged man with a pleasant voice,
+      and the address of a gentleman, approached him,
+    </p>
+    <p>
+      &ldquo;Were you looking for some one, sir?&rdquo;
+     </p>
+    <p>
+      &ldquo;Yes, for an old colored woman, my wife's old mammy.&rdquo;
+     </p>
+    <p>
+      &ldquo;Well, I think you may find her in the inner waiting-room. There is an old
+      lady in there, who has been waiting there all day. She came in on the
+      morning train, and said she was expecting you. If you will come with me, I
+      will show you.&rdquo;
+     </p>
+    <p>
+      &ldquo;She 's been there all day,&rdquo; the porter said, with a laugh, as they walked
+      along. &ldquo;I asked who she was waiting for; but she wouldn't tell me. She
+      said it was none of my business.&rdquo;
+     </p>
+    <p>
+      &ldquo;I fancy that 's she,&rdquo; said Graeme.
+    </p>
+    <p>
+      &ldquo;Yes, sir, that 's she, sure.&rdquo;
+     </p>
+    <p>
+      Graeme thanked him. With a chuckle he led the way to where ensconced in a
+      corner, surrounded by bundles and baskets and clad in the deepest black,
+      and with a flaming red bow at her throat, sat Mammy Lyddy.
+    </p>
+    <p>
+      &ldquo;Here 's the gentleman you were looking for,&rdquo; said the porter kindly.
+    </p>
+    <p>
+      At sight of Graeme she rose so hastily that many of her bundles rolled on
+      the floor.
+    </p>
+    <p>
+      &ldquo;Why, Mammy! Why did n't you come on the train I wrote you to come on?&rdquo;
+       enquired Graeme.
+    </p>
+    <p>
+      &ldquo;Well, you tole me to come to-day, and I thought I would like to be on
+      time, so I came this morning.&rdquo;
+     </p>
+    <p>
+      &ldquo;Now, if you will let me have your tickets, I will attend to everything
+      for you,&rdquo; said the porter to Graeme.
+    </p>
+    <p>
+      The old woman gave him a swift glance, and then seeing Graeme hand him his
+      ticket, she turned her back, and began to fish in some mysterious recess
+      in her garments, and after a long exploration brought out a small bag
+      containing her ticket.
+    </p>
+    <p>
+      &ldquo;Is he one of your servants!&rdquo; she asked Graeme in an undertone.
+    </p>
+    <p>
+      Graeme smiled. &ldquo;Well, I think he is&mdash;he is everybody's servant and
+      friend.&rdquo;
+     </p>
+    <p>
+      &ldquo;I did n't know. He comes roun' inquirin' 'bout my business so officious I
+      thought sure he was one o' dese Gov'ment folks, and I done had 'nough to
+      do wid dat kind.&rdquo;
+     </p>
+    <p>
+      &ldquo;Like Amos Brown, Caesar's friend.&rdquo;
+     </p>
+    <p>
+      It was a sore subject with the old woman.
+    </p>
+    <p>
+      &ldquo;Well, I did n't know&mdash;I thought he was one o' dese perliss. So I
+      sent him 'long 'bout he own business. But if you know him it 's all
+      right.&rdquo;
+     </p>
+    <p>
+      The passengers who streamed through the great station the evening of her
+      arrival, were surprised to see a pudgy old black woman escorted by a
+      gentleman who, loaded down with her bundles and baskets, was guiding her
+      through the throng as respectfully as if she had been the first lady in
+      the land. At the gate a lady and several children were awaiting her, and
+      at sight of her a cry of joy went up. Dropping her bundles, the old woman
+      threw herself into the lady's arms and kissed her again and again, after
+      which she received a multitude of kisses from the children.
+    </p>
+    <p>
+      &ldquo;Well, I never saw anything like that,&rdquo; said a stranger to another.
+    </p>
+    <p>
+      &ldquo;She is their mammy,&rdquo; said the other one simply, with a pleasant light in
+      his eyes.
+    </p>
+    <p>
+      The old woman's presence seemed to transform the house. She was no sooner
+      installed than she took possession. That very morning she established her
+      position, after a sharp but decisive battle with the airy &ldquo;colored lady,&rdquo;
+       who for some days had been dawdling about the house. The mammy had gauged
+      her as soon as her sharp eyes fell on her.
+    </p>
+    <p>
+      &ldquo;What does yo' call yo'self?&rdquo; she asked her.
+    </p>
+    <p>
+      &ldquo;What is my name? I am called 'Miss Johnson&mdash;Miss Selina Johnson.'&rdquo;
+     </p>
+    <p>
+      The old woman gave a sniff.
+    </p>
+    <p>
+      &ldquo;Yo' is! Well, what does yo' call you'self doin' heah?&rdquo;
+     </p>
+    <p>
+      &ldquo;You mean what is my employment! I am the help&mdash;one of the help.&rdquo;
+     </p>
+    <p>
+      &ldquo;Yo' is!&rdquo; Mam' Lyddy tightened her apron-strings about her stout waist.
+      &ldquo;Well, 'Miss Johnson,' you git holt of that mat-trass and help me meek up
+      dis heah bed so it 'll be fit for you' mistis to sleep on it.&rdquo; With a jerk
+      she turned up the mattress. The maid was so taken aback for a moment that
+      she did not speak. Then she drew herself up.
+    </p>
+    <p>
+      &ldquo;I know I ain' gwine to tetch it. I done made it up onct to-day. An' I
+      ain't got no mistis.&rdquo;
+     </p>
+    <p>
+      The mammy turned on her.
+    </p>
+    <p>
+      &ldquo;Umh'm! I thought so! I knows jest yo' kind. Well, de sooner you git out
+      o' dis room de better for you. 'Cause if I lay my han' 'pon you I won't
+      let you go till I'se done what yo' mammy ought to 'a' done to you ev'y day
+      o' yo' life.&rdquo;
+     </p>
+    <p>
+      She moved toward her with so dangerous a gleam in her sharp little eyes
+      that &ldquo;Miss Johnson&rdquo; deemed it safest to beat a hasty retreat, and before
+      bedtime had disappeared from the premises entirely.
+    </p>
+    <p>
+      In the kitchen the old woman had been equally strenuous. She had shown the
+      cook in one evening that she knew more about cooking than that
+      well-satisfied person had ever dreamed any one knew. She had taught the
+      other maid that she knew by instinct every lurking place of dirt, however
+      skilfully hidden, and, withal, she had inspired them both with so much
+      dread of her two-edged tongue that they were doing their best to
+      conciliate her by a zeal and civility they had never shown before.
+    </p>
+    <p>
+      For the first time the Graemes knew what comfort was in their new home.
+    </p>
+    <p>
+      &ldquo;Well, this is something like home,&rdquo; said Mrs. Graeme that evening as she
+      sat by the lamp. &ldquo;Why, I feel like little Ben. He said to-night, 'Mamma,
+      Mammy brought old times with her.'&rdquo;
+     </p>
+    <p>
+      &ldquo;May she live forever!&rdquo; said Graeme.
+    </p>
+    <p>
+      In time, however, Mrs. Graeme began to feel that the old woman was
+      confining herself too closely to the house. She needed some recreation.
+      She had not even been to church, and Mrs. Graeme knew that this was her
+      chief delight.
+    </p>
+    <p>
+      Yes, she would like to go to church, she said, but she did not know &ldquo;about
+      dese fine chutches.&rdquo; She did not like much to go on the streets. &ldquo;Dere was
+      too many strange folks around for her. Dey did n't keer nuthin' for her
+      ner she for dem.&rdquo; And it was &ldquo;de same way, she reckoned, with de chutches.
+      Dey wuz new niggers, and she did n't had no use for dem, nor dey for her.&rdquo;
+     </p>
+    <p>
+      Mrs. Graeme, however, was insistent. Not far off, she had learned, was a
+      colored church, &ldquo;Mount Salem,&rdquo; over which the Reverend Amos Johnson
+      presided with much show of broadcloth and silk hat. He had considerable
+      reputation as a speaker, and from time to time appeared in the newspapers
+      as a rather ranting writer on matters with a political coloring. Mrs.
+      Graeme explained to the old woman that she need have no more to do with
+      the people than she wished, and the following Sunday she went herself with
+      her to the door of the church. Before leaving her she gave her a
+      half-dollar to put in the plate, and asked a solemn-looking usher to show
+      her a good seat.
+    </p>
+    <p>
+      When the old woman returned she was interested, but critical. &ldquo;I'se been
+      used to chutch all my life,&rdquo; she declared, &ldquo;but I never saw no fixin's
+      like dat. Br'er George Wash'n'ton Thomas of Mount Zion was de fancies' one
+      I ever seen; but he could n't tetch dat man. Why, dey outdoes white
+      folks!&rdquo;
+     </p>
+    <p>
+      &ldquo;Were n't they nice to you!&rdquo; asked her mistress.
+    </p>
+    <p>
+      &ldquo;Nor 'm', none too nice. Dat one what you spoke to for me wuz gwine to
+      give me a seat; but a uppish young yaller one stopped him an' made him
+      teck me back and stick me in a corner behind a pillar. But he did n't
+      stick me so fur back 't dey did n't fine me when dey tecked up de money.
+      When I put in dat fif'-cent you gi' me, he jumped like a pin had stick
+      him. I dropped 't in so 't would soun', I tell you!&rdquo;
+     </p>
+    <p>
+      This gave Mrs. Graeme an idea, and she encouraged her to go again the
+      following Sunday, and this time gave her a dollar to put in the plate.
+    </p>
+    <p>
+      &ldquo;Be sure and drop it in so it will sound,&rdquo; she said to her.
+    </p>
+    <p>
+      &ldquo;I 'm gwine to.&rdquo;
+     </p>
+    <p>
+      &ldquo;Well, how did you come out to-dayf&rdquo; she asked her on her return.
+    </p>
+    <p>
+      &ldquo;Right well. Dey did n't stick me quite so fur back, and when I drap de
+      dollar in dey wuz several on 'em lookin', and when de chutch was over dey
+      come runnin' arter me, an', tell me ef I come next time dey 'll have a
+      good seat for me. I 'm gwine agin, but fust thing dey know I 'm gwine to
+      fool 'em. I ain't gwine put a dollar in agin, I know.&rdquo;
+     </p>
+    <p>
+      Mrs. Graeme laughed. &ldquo;Oh! you must pay for being in society. We all do.&rdquo;
+     </p>
+    <p>
+      &ldquo;I know <i>I</i> ain't,&rdquo; declared the old woman, &ldquo;and I don't reckon you
+      gwine to gi' me a dollar ev 'y Sunday.&rdquo;
+     </p>
+    <p>
+      &ldquo;I certainly am not. I am only getting you launched.&rdquo;
+     </p>
+    <p>
+      The following week Mrs. Graeme said to her husband, &ldquo;I think Mammy is
+      launched. The preacher came to the front door to-day and asked to see Mrs.
+      Quivers. At first I did not know whom he meant. Then he said it was 'a
+      colored lady.' You never saw any one so gotten up&mdash;silk hat, kid
+      gloves, and ebony cane. And Mammy was quite set up by it. She says the
+      preacher is from home and knew Caesar. She was really airy afterward.&rdquo;
+     </p>
+    <p>
+      Mr. Graeme uttered an objurgation. &ldquo;You will ruin that old woman, and with
+      her the best old negro that ever was.&rdquo;
+     </p>
+    <p>
+      &ldquo;Oh, no,&rdquo; said Mrs. Graeme, &ldquo;there is no danger of that. You could n't
+      spoil her.&rdquo;
+     </p>
+    <p>
+      A few weeks later she said: &ldquo;Yes, Mammy is launched. She told me to-day
+      she wanted to join the club, and when I asked, what club, she said, 'the
+      Colored Ladies Siciety Club.'&rdquo; &ldquo;I should say she was launched,&rdquo; sniffed
+      Mr. Graeme. &ldquo;She told me she wanted her money to invest it herself. The
+      old fool! They will rob her of it.&rdquo;
+     </p>
+    <p>
+      <a name="link2H_4_0003" id="link2H_4_0003">
+      <!--  H2 anchor --> </a>
+    </p>
+    <div style="height: 4em;">
+      <br /><br /><br /><br />
+    </div>
+    <h2>
+      III
+    </h2>
+    <p>
+      The weeks that followed, and Mam' Lyddy's immersion in &ldquo;Siciety&rdquo; began
+      apparently to justify Mr. Graeme's prophecy. A marked change had taken
+      place in the old woman's dress, and no less a change had taken place in
+      herself. She began to go out a good deal, and her manner was quite new.
+      She was what a few weeks before she would have derided as &ldquo;citified and
+      airified.&rdquo; At length Mrs. Graeme could not conceal it from herself any
+      longer.
+    </p>
+    <p>
+      One evening as her husband on his return from his office threw himself on
+      his chair with the evening paper, she brought up the subject.
+    </p>
+    <p>
+      &ldquo;Cabell, it is true; you have noticed the change!&rdquo;
+     </p>
+    <p>
+      &ldquo;What? I have no doubt I have.&rdquo; He glanced at his wife to see if she had
+      on a new dress or had changed the mode of wearing her hair, then gazed
+      about him rather uneasily to see if the furniture had been shifted about,
+      or if the pictures had been changed; points on which his wife was inclined
+      to be particular.
+    </p>
+    <p>
+      &ldquo;The change in Mammy! Why, I should never know her for the same person.&rdquo;
+     </p>
+    <p>
+      &ldquo;Of course, I have. I have noticed nothing else. Why, she is dressed as
+      fine as a fiddle. She is 'taking notice.' She 'll be giving Old Caesar a
+      successor. Then what will you do? I thought that fat darky I have seen
+      going in at the back gate with a silk hat and a long-tailed coat looked
+      like a preacher. You 'd better look out for him. You know she was always
+      stuck on preachers. He is a preacher, sure.&rdquo;
+     </p>
+    <p>
+      &ldquo;He is,&rdquo; observed the small boy on the floor. &ldquo;That 's the Reverend Mr.
+      Johnson. And, oh! He certainly can blow beautiful smoke-rings. He can blow
+      a whole dozen and make 'em go through each other. You just ought to see
+      him, papa.&rdquo;
+     </p>
+    <p>
+      His father glanced casually at the cigar box on the table.
+    </p>
+    <p>
+      &ldquo;I think I will some day,&rdquo; said he, half grimly.
+    </p>
+    <p>
+      &ldquo;I never would know her for the same person. Why, she is so changed!&rdquo;
+       pursued Mrs. Graeme. &ldquo;She goes out half the time, and this morning she was
+      so cross! She says she is as good as I am if she is black. She is getting
+      like these others up here.&rdquo;
+     </p>
+    <p>
+      Mr. Graeme flung down the paper he was reading.
+    </p>
+    <p>
+      &ldquo;It is these Northern negroes who have upset her, and the fools like the
+      editor of that paper who have upset them.&rdquo;
+     </p>
+    <p>
+      Mrs. Graeme looked reflective.
+    </p>
+    <p>
+      &ldquo;That preacher has been coming here a good deal lately. I wonder if that
+      could have anything to do with it!&rdquo; she said, slowly.
+    </p>
+    <p>
+      Her husband sniffed.
+    </p>
+    <p>
+      &ldquo;I will find out.&rdquo;
+     </p>
+    <p>
+      At that moment the door opened and in walked Mam' Lyddy and a small boy in
+      all the glory of five years, and all the pride of his first pair of
+      breeches. The old woman's face wore an expression of glumness wholly new
+      to her, and Mr. Graeme's mouth tightened. His wife had only time to
+      whisper: &ldquo;Now, don't you say a word to her.&rdquo; But she was too late. Mam'
+      Lyddy's expression drove him to disobedience. He gave her a keen glance,
+      and then said, half jocularly: &ldquo;Old woman, what is the matter with you
+      lately!&rdquo;
+     </p>
+    <p>
+      Mam' Lyddy did not answer immediately. She looked away, then said: &ldquo;Wid
+      me? Ain't nuttin' de matter wid me.&rdquo;
+     </p>
+    <p>
+      &ldquo;Oh, yes, there is. What is it? Do you want to go home?&rdquo;
+     </p>
+    <p>
+      She appeared half startled for an instant, then answered more sharply:
+      &ldquo;Nor, I don't wan' go home. I ain' got no home to go to.&rdquo;
+     </p>
+    <p>
+      &ldquo;Oh, yes, you have. Well, what is the matter? Out with it. Have you lost
+      any money!&rdquo;
+     </p>
+    <p>
+      &ldquo;Nor, I ain' lost no money 's <i>I</i> knows on.&rdquo;
+     </p>
+    <p>
+      &ldquo;Been playing lottery?&rdquo;
+     </p>
+    <p>
+      &ldquo;I don' know what dat is.&rdquo;
+     </p>
+    <p>
+      &ldquo;You don't, ah! Well, you would if you had been in Wall Street lately.
+      Well, what is the matter? You are going around here as glum as a meat-axe.
+      Something 's up. What is it?&rdquo;
+     </p>
+    <p>
+      &ldquo;Ain' nothin' de matter wid <i>me</i>.&rdquo; She glanced away under her
+      master's half amused, half disdainful glance, then added half surlily: &ldquo;I
+      wants <i>rec'nition</i>.&rdquo;
+     </p>
+    <p>
+      &ldquo;Want recognition? What do you mean?&rdquo;
+     </p>
+    <p>
+      &ldquo;Dat 's what <i>we</i> wants,&rdquo; declared the old woman, acquiring courage.
+    </p>
+    <p>
+      Graeme laughed.
+    </p>
+    <p>
+      &ldquo;What is recognition?&rdquo;
+     </p>
+    <p>
+      &ldquo;I don't know what 't is edzac'ly, but dat's what we <i>wants</i>. You all
+      's got it and you got to gi' it to <i>us</i>.&rdquo;
+     </p>
+    <p>
+      &ldquo;You mean you want to sit at table with us!&rdquo; exclaimed Mrs. Graeme.
+    </p>
+    <p>
+      Mammy Lyddy turned toward her. &ldquo;You know I don't mean nuttin' like dat! I
+      leetle more 'n smacked that yaller gal' what you call you' maid over 'bout
+      talkin' dat way t'other day.&rdquo;
+     </p>
+    <p>
+      &ldquo;Then what do you want!&rdquo;
+     </p>
+    <p>
+      &ldquo;I wants <i>rec'nition</i>&mdash;dat's all I wants.&rdquo;
+     </p>
+    <p>
+      &ldquo;Who told you to say that!&rdquo; asked Mr. Graeme.
+    </p>
+    <p>
+      &ldquo;Who tol' me to say dat?&rdquo; She was puzzled.
+    </p>
+    <p>
+      &ldquo;Yes.&rdquo;
+     </p>
+    <p>
+      &ldquo;Ain' nobody tol' me to say it.&rdquo;
+     </p>
+    <p>
+      &ldquo;Yes, some one has. Who was it?&mdash;-the Reverend Johnson? Did n't he
+      tell you that!&rdquo;
+     </p>
+    <p>
+      She hesitated; but Mr. Graeme's eye was searching.
+    </p>
+    <p>
+      &ldquo;Well, he no mo' 'n others&mdash;no <i>much</i> mo'. Of co'se, he tol' me
+      dat&mdash;he <i>preaches</i> 'bout it; but did n't nobody <i>have</i> to
+      tell me&mdash;I knows 'bout it myself.&rdquo;
+     </p>
+    <p>
+      &ldquo;Of course you did, and you must have it. So shall the Reverend Mr.
+      Johnson,&rdquo; said Mr. Graeme. His tone expressed such sudden amiability that
+      the old woman glanced at him suspiciously, but he was smiling softly and
+      thoughtfully to himself.
+    </p>
+    <p>
+      &ldquo;What did you do with the four hundred and fifty-five dollars you drew out
+      of bank last week? Did you invest it or lend it to Mr. Johnson?&rdquo; It was a
+      bow drawn at venture, but the arrow hit the mark, as Mr. Graeme saw.
+    </p>
+    <p>
+      &ldquo;I 'vested it.&rdquo;
+     </p>
+    <p>
+      &ldquo;You mean Mr. Johnson invested it for you? By the way, what is his first
+      name!&rdquo;
+     </p>
+    <p>
+      &ldquo;Yes, sir. His name 's de Rev. Amos Johnson.&rdquo;
+     </p>
+    <p>
+      &ldquo;By George! I thought so,&rdquo; said Graeme, half aloud. &ldquo;I saw him at the
+      races last week. I knew I had seen him before.&rdquo; His countenance grew
+      suddenly cheerful.
+    </p>
+    <p>
+      &ldquo;What did he give you to show for it?&rdquo;
+     </p>
+    <p>
+      &ldquo;He did n't gi' me nothin'. He 's gwine to draw the intrust for me.&rdquo;
+     </p>
+    <p>
+      &ldquo;Oh! I thought so. Well, I want to see the Rev. Mr. Johnson when he comes
+      next time. When do you expect him?&rdquo;
+     </p>
+    <p>
+      &ldquo;I ain't 'pectin' him 't all. He comes sometimes. He was a friend o'
+      Cæsar's.&rdquo;
+     </p>
+    <p>
+      &ldquo;Ah! he was! So I thought. Comes to smoke a cigar, I suppose!&rdquo;
+     </p>
+    <p>
+      She looked so uneasy that he went on casually: &ldquo;Well, it 's very well;
+      always keep in with the cloth. He is a fine preacher, I hear! Keeps quite
+      up with the times&mdash;interested in the races in more senses than one.&rdquo;
+     </p>
+    <p>
+      &ldquo;Yes, sir; he preaches very well.&rdquo;
+     </p>
+    <p>
+      &ldquo;That is all. Well, your friend must have 'rec'nition.'&rdquo;
+     </p>
+    <p>
+      The old woman withdrew.
+    </p>
+    <p>
+      The following day Graeme went down to a detective agency and left a
+      memorandum. A few days later he received a message from the agency: &ldquo;Yes,
+      he is the same man. He frequents the pool-rooms a good deal. Came from
+      Kentucky. He used to be known as 'Amos Brown.'&rdquo;
+     </p>
+    <p>
+      <a name="link2H_4_0004" id="link2H_4_0004">
+      <!--  H2 anchor --> </a>
+    </p>
+    <div style="height: 4em;">
+      <br /><br /><br /><br />
+    </div>
+    <h2>
+      IV
+    </h2>
+    <p>
+      For some days Mr. Graeme took to coming home earlier than usual, and one
+      evening he was rewarded. Just after his arrival little Ben came in, and,
+      climbing up to his cigar box, took out several cigars, and silently
+      withdrew. As soon as he had disappeared his father stepped to the
+      telephone, and, calling up the detective agency, asked that an officer be
+      sent around to his house immediately. A few minutes later the officer
+      arrived, and after a few words with him Mr. Graeme stationed him at the
+      back gate and strolled back toward the kitchen. As he softly approached
+      the door he heard voices within-one of them his little boy's voice, the
+      other the deep, unctuous tones of a negro man. The child was begging the
+      latter to blow smoke-wreaths, and the man was bartering with him.
+    </p>
+    <p>
+      &ldquo;Well, you must get me <i>more</i> cigars; remember what I told you&mdash;six
+      wreaths for one cigar.&rdquo;
+     </p>
+    <p>
+      At this moment the mammy evidently came in, for Mr. Graeme heard the man
+      caution the child, and heard her voice for the first time,
+    </p>
+    <p>
+      &ldquo;What dat you telling dat chile?&rdquo; she demanded, suspiciously.
+    </p>
+    <p>
+      &ldquo;Nothing. I was just entertaining him by blowing a few of those artistic
+      wreaths he admires so much. My good friends keep me in cigars. It is one
+      of the few consolations in a hard-working pastor's life. Well, sister, I
+      called around to tell you your investment promises to be even more
+      remunerative than I expected&mdash;and to tell you if you have any more,
+      or even can borrow any, to let me place it as you did the other. I can
+      guarantee to double it for you in a short time.&rdquo;
+     </p>
+    <p>
+      &ldquo;I ain' got any more&mdash;an' ain' got nobody to lend me none.&rdquo;
+     </p>
+    <p>
+      &ldquo;Well, ah! Could n 't you get any from your employer?&rdquo; He lowered his
+      voice; but Graeme caught the words. &ldquo;You could raise money on the silver&mdash;and
+      they would never know it. Besides, they owe it to you for all the work you
+      have done without payment. Think how many years you worked for them as a
+      slave without pay.&rdquo;
+     </p>
+    <p>
+      &ldquo;Now, I ain' gwine to do dat!&rdquo; exclaimed the old woman.
+    </p>
+    <p>
+      At this moment Graeme softly opened the door. The mammy was standing with
+      her back to him, and in one chair, tilted back with his feet in another
+      chair, was a large and unctuous-looking negro of middle age, in all the
+      glory of a black broadcloth coat and a white tie. He was engaged at the
+      moment in blowing small wreaths, while little Ben stood by and gazed at
+      him with open-eyed wonder and delight.
+    </p>
+    <p>
+      At sight of Mr. Graeme, the preacher with a gulp, which sadly disturbed
+      his last effort, rose to his feet. An expression of fear flitted across
+      his face, then gave way to a crafty, half-insolent look.
+    </p>
+    <p>
+      &ldquo;Good evening, sir,&rdquo; he began, with an insinuating smile, not wholly free
+      from uneasiness.
+    </p>
+    <p>
+      &ldquo;Good evening, Amos. Mammy, will you kindly go to your mistress. Take the
+      boy with you. Run along, son.&rdquo;
+     </p>
+    <p>
+      The old woman with a half-scared air led the child out, and Mr. Graeme
+      closed the door and turned back to the visitor, who looked much
+      embarrassed.
+    </p>
+    <p>
+      &ldquo;Take my cigars out of your pocket.&rdquo;
+     </p>
+    <p>
+      The preacher's hand went involuntarily to his breast-pocket, and then came
+      down.
+    </p>
+    <p>
+      &ldquo;What! Your cigars out of my pocket? I have no cigars of yours, sir.&rdquo; He
+      spoke with slightly rising severity, as Mr. Graeme remained so calm.
+    </p>
+    <p>
+      &ldquo;Oh, yes, you have. But no matter for the present. You had just as well
+      leave them there for a moment. What are you doing, coming here all the
+      time?&rdquo;
+     </p>
+    <p>
+      &ldquo;What am I doing?&mdash;Coming here? I am a minister of the Gawspel, sir,
+      and I have a member of my congregation here, and I come to look after her
+      welfare.&rdquo;
+     </p>
+    <p>
+      &ldquo;And to see that she gets recognition?&rdquo;
+     </p>
+    <p>
+      &ldquo;Suh?&rdquo;&mdash;with a wince.
+    </p>
+    <p>
+      &ldquo;And incidentally to rob me of my cigars, and her of her small savings&rdquo;&mdash;pursued
+      Mr. Graeme, calmly.
+    </p>
+    <p>
+      &ldquo;Suh? Nor, suh, I has not done dat I will take my oath to it on the word
+      of Almighty God.&rdquo;
+     </p>
+    <p>
+      The veneer of his fine speech had all been dropped, and the Rev. Johnson
+      was talking naturally enough now.
+    </p>
+    <p>
+      &ldquo;What did you do with that money you took from her?&rdquo;
+     </p>
+    <p>
+      &ldquo;What did I do wid&mdash;? What money?&rdquo;
+     </p>
+    <p>
+      Mr. Graeme showed impatience for the first time.
+    </p>
+    <p>
+      &ldquo;The four hundred and fifty-five dollars you got from her. Was there more
+      than that?&rdquo;
+     </p>
+    <p>
+      At this point Mam' Lyddy opened the door and came in. She looked somewhat
+      mystified and rather disturbed, but she said nothing. She only took her
+      stand, and with arms folded waited silent and observant.
+    </p>
+    <p>
+      The negro saw that Mr. Graeme knew of the fact and answered promptly.
+    </p>
+    <p>
+      &ldquo;Oh! You are mistaken, sir. I have taken no money of her. You can ax her.
+      She had a sum of money which I as a favor to her invested for her. You can
+      ask the sister there. I suppose you refer to that!&rdquo;
+     </p>
+    <p>
+      &ldquo;Invested! In what?&rdquo;
+     </p>
+    <p>
+      &ldquo;Ah&mdash;ur&mdash;in&mdash;ur&mdash;the Afro-American Sister's Loan and
+      Trust Association. I have promised to invest it in that for her.&rdquo;
+     </p>
+    <p>
+      He stammered a good deal at the start, but was glib enough when he brought
+      out the name. &ldquo;Didn't I, sister!&rdquo;
+     </p>
+    <p>
+      &ldquo;Yes, sir.&rdquo; The old woman was manifestly impressed. The preacher's cunning
+      face brightened.
+    </p>
+    <p>
+      &ldquo;You see what she says?&rdquo;
+     </p>
+    <p>
+      &ldquo;With its chief office at the Race-course out here,&rdquo; said Graeme, with a
+      toss of his head. &ldquo;Look here, I want you to get that money.&rdquo;
+     </p>
+    <p>
+      The negro shot a glance at Mam' Lyddy and decided that she would stand by
+      him. He suddenly stiffened up and resumed his affected manner.
+    </p>
+    <p>
+      &ldquo;Well, sir, I do not know by what right you interfere with my affairs&mdash;or
+      this lady's.&rdquo;
+     </p>
+    <p>
+      &ldquo;You don 't? Well, that's what I am going to show you now. My right is
+      that she is a member of my family, whom I am going to protect from just
+      such scoundrels and thieves as you, Amos Brown.&rdquo;
+     </p>
+    <p>
+      The preacher received the name like a blow.
+    </p>
+    <p>
+      At the words the old mammy jumped as if she were shot. She leaned forward,
+      moving up slowly.
+    </p>
+    <p>
+      &ldquo;What's dat?&mdash;'Amos <i>Brown</i>'? What's dat you said, Marse Cabell?
+      'Amos <i>Brown</i>'?&rdquo;
+     </p>
+    <p>
+      Mr. Graeme nodded. &ldquo;Yes. This is Amos Brown, 'a friend of Caesar's.'&rdquo;
+     </p>
+    <p>
+      &ldquo;Indeed, I ain 't suh. I'm de Reverend Amos Johnson&mdash;&rdquo; began the
+      preacher, but his looks belied him. Mammy Lyddy took in the truth, and the
+      next second the storm broke.
+    </p>
+    <p>
+      &ldquo;'Amos Brown' you is? I might 'a' knowd it! You thief! You a friend of
+      Caesar's! Whar's my money?&mdash;My money you stole from Caesar? You come
+      talkin' to me 'bout rec'nition? I done rec'nize you, you black nigger. Let
+      me get at him, Marse Gabelle.&rdquo;
+     </p>
+    <p>
+      The old woman swept toward him with so threatening an air that Graeme
+      interposed, and the preacher retreated behind him for protection. Even
+      that place of security did not, however, save him from her vitriolic
+      tongue. She poured out on him the vials of her wrath till Graeme, fearing
+      she might drop down in a faint, stopped her.
+    </p>
+    <p>
+      &ldquo;Stop now. I will settle with him.&rdquo;
+     </p>
+    <p>
+      His authoritative air quieted her, but she still stood glowering and
+      muttering her wrath.
+    </p>
+    <p>
+      &ldquo;You will have that money back here by to-morrow at this hour or I will
+      put you in the penitentiary, where you have already been once and ought to
+      be now. And now you will take my cigars out of your pocket, or I will hand
+      you to that policeman out there at the door. Out with them.&rdquo;
+     </p>
+    <p>
+      &ldquo;Boss, I ain't got no cigars o' yo's. I 'll swar to it on de wud o'&mdash;&mdash;&rdquo;
+     </p>
+    <p>
+      &ldquo;Out with them&mdash;or&mdash;&rdquo; Mr. Graeme turned to open the door. The
+      negro, after a glance at Mam' Lyddy, slowly took several cigars from his
+      pockets.
+    </p>
+    <p>
+      &ldquo;Dese is all de cigars I has&mdash;and dey wuz given to me by a friend,&rdquo;
+       he said, surlily.
+    </p>
+    <p>
+      &ldquo;Yes, by my little boy. I know. Lay them there. I will keep them till
+      to-morrow. And now go and get that money.&rdquo;
+     </p>
+    <p>
+      &ldquo;What money?&mdash;I can't git dat money&mdash;dat money is invested.&rdquo;
+     </p>
+    <p>
+      &ldquo;Then you bring the securities in which it is invested. I know where that
+      money went. You go and rob some one else&mdash;but have that money at my
+      office to-morrow before three o'clock or I 'll put you in jail to-morrow
+      night. And if you ever put your foot on this place or speak to that old
+      woman again, I 'll have you arrested. Do you understand!&rdquo;
+     </p>
+    <p>
+      &ldquo;Yes, sir.&rdquo;
+     </p>
+    <p>
+      &ldquo;Now go.&rdquo; He opened the door.
+    </p>
+    <p>
+      &ldquo;Officer, do you recognize this man!&rdquo;
+     </p>
+    <p>
+      &ldquo;Yes, sir, I know him.&rdquo;
+     </p>
+    <p>
+      &ldquo;Well, I am going to let him go for the present&rdquo;
+     </p>
+    <p>
+      The Rev. Amos was already slinking down the street. Mr. Graeme turned to
+      the old woman.
+    </p>
+    <p>
+      &ldquo;You want recognition?&rdquo;
+     </p>
+    <p>
+      &ldquo;Nor, suh, I don't&rdquo; She gave a whimper. &ldquo;I wants my money. I wants to git
+      hold of dat black nigger what 's done rob me talkin' 'bout bein' sich a
+      friend o' Caesar's.&rdquo;
+     </p>
+    <p>
+      &ldquo;Do you want to go home?&rdquo;
+     </p>
+    <p>
+      &ldquo;Dis is my home.&rdquo; She spoke humbly, but firmly.
+    </p>
+    <p>
+      Two days afterward Mrs. Graeme said:
+    </p>
+    <p>
+      &ldquo;Cabell, Mammy is converted. It is like old times.&rdquo;
+     </p>
+    <p>
+      &ldquo;I think it will last,&rdquo; said her husband. &ldquo;She is out four hundred and
+      fifty-five dollars, and the Mount Salem flock is temporarily without a
+      shepherd. The Rev. Amos Johnson was gathered in this morning for fleecing
+      one of his sheep and signing the wrong name to a check.&rdquo;
+     </p>
+    <div style="height: 6em;">
+      <br /><br /><br /><br /><br /><br />
+    </div>
+<pre xml:space="preserve">
+
+
+
+
+
+End of Project Gutenberg's Mam' Lyddy's Recognition, by Thomas Nelson Page
+
+*** END OF THIS PROJECT GUTENBERG EBOOK MAM' LYDDY'S RECOGNITION ***
+
+***** This file should be named 23512-h.htm or 23512-h.zip *****
+This and all associated files of various formats will be found in:
+        http://www.gutenberg.org/2/3/5/1/23512/
+
+Produced by David Widger
+
+Updated editions will replace the previous one--the old editions
+will be renamed.
+
+Creating the works from public domain print editions 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-tm electronic works to
+protect the PROJECT GUTENBERG-tm concept and trademark.  Project
+Gutenberg is a registered trademark, and may not be used if you
+charge for the eBooks, unless you receive specific permission.  If you
+do not charge anything for copies of this eBook, complying with the
+rules is very easy.  You may use this eBook for nearly any purpose
+such as creation of derivative works, reports, performances and
+research.  They may be modified and printed and given away--you may do
+practically ANYTHING with public domain eBooks.  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-tm 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 &ldquo;Project
+Gutenberg&rdquo;), you agree to comply with all the terms of the Full Project
+Gutenberg-tm License (available with this file or online at
+http://gutenberg.org/license).
+
+
+Section 1.  General Terms of Use and Redistributing Project Gutenberg-tm
+electronic works
+
+1.A.  By reading or using any part of this Project Gutenberg-tm
+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-tm electronic works in your possession.
+If you paid a fee for obtaining a copy of or access to a Project
+Gutenberg-tm 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.  &ldquo;Project Gutenberg&rdquo; 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-tm 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-tm electronic works if you follow the terms of this agreement
+and help preserve free future access to Project Gutenberg-tm electronic
+works.  See paragraph 1.E below.
+
+1.C.  The Project Gutenberg Literary Archive Foundation (&ldquo;the Foundation&rdquo;
+ or PGLAF), owns a compilation copyright in the collection of Project
+Gutenberg-tm electronic works.  Nearly all the individual works in the
+collection are in the public domain in the United States.  If an
+individual work is in the public domain 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-tm mission of promoting free access to electronic works by
+freely sharing Project Gutenberg-tm works in compliance with the terms of
+this agreement for keeping the Project Gutenberg-tm 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-tm 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-tm work.  The Foundation makes no representations concerning
+the copyright status of any work in any country outside 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-tm License must appear prominently
+whenever any copy of a Project Gutenberg-tm work (any work on which the
+phrase &ldquo;Project Gutenberg&rdquo; appears, or with which the phrase &ldquo;Project
+Gutenberg&rdquo; is associated) is accessed, displayed, performed, viewed,
+copied or distributed:
+
+This eBook is for the use of anyone anywhere 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
+
+1.E.2.  If an individual Project Gutenberg-tm electronic work is derived
+from the public domain (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 &ldquo;Project Gutenberg&rdquo; 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-tm trademark as set forth in paragraphs 1.E.8 or
+1.E.9.
+
+1.E.3.  If an individual Project Gutenberg-tm 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-tm 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-tm
+License terms from this work, or any files containing a part of this
+work or any other work associated with Project Gutenberg-tm.
+
+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-tm 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-tm work in a format other than
+&ldquo;Plain Vanilla ASCII&rdquo; or other format used in the official version
+posted on the official Project Gutenberg-tm web site (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 &ldquo;Plain Vanilla ASCII&rdquo; or other
+form.  Any alternate format must include the full Project Gutenberg-tm
+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-tm 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-tm electronic works provided
+that
+
+- You pay a royalty fee of 20% of the gross profits you derive from
+     the use of Project Gutenberg-tm works calculated using the method
+     you already use to calculate your applicable taxes.  The fee is
+     owed to the owner of the Project Gutenberg-tm 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, &ldquo;Information about donations to
+     the Project Gutenberg Literary Archive Foundation.&rdquo;
+
+- 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-tm
+     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-tm 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-tm works.
+
+1.E.9.  If you wish to charge a fee or distribute a Project Gutenberg-tm
+electronic work or group of works on different terms than are set
+forth in this agreement, you must obtain permission in writing from
+both the Project Gutenberg Literary Archive Foundation and Michael
+Hart, the owner of the Project Gutenberg-tm 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
+public domain works in creating the Project Gutenberg-tm
+collection.  Despite these efforts, Project Gutenberg-tm electronic
+works, and the medium on which they may be stored, may contain
+&ldquo;Defects,&rdquo; 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 &ldquo;Right
+of Replacement or Refund&rdquo; described in paragraph 1.F.3, the Project
+Gutenberg Literary Archive Foundation, the owner of the Project
+Gutenberg-tm trademark, and any other party distributing a Project
+Gutenberg-tm 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 F3.  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 MERCHANTIBILITY 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-tm electronic works in accordance
+with this agreement, and any volunteers associated with the production,
+promotion and distribution of Project Gutenberg-tm 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-tm
+work, (b) alteration, modification, or additions or deletions to any
+Project Gutenberg-tm work, and (c) any Defect you cause.
+
+
+Section  2.  Information about the Mission of Project Gutenberg-tm
+
+Project Gutenberg-tm 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, is critical to reaching Project Gutenberg-tm's
+goals and ensuring that the Project Gutenberg-tm 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-tm 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 web page at http://www.pglaf.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.  Its 501(c)(3) letter is posted at
+http://pglaf.org/fundraising.  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 principal office is located at 4557 Melan Dr. S.
+Fairbanks, AK, 99712., but its volunteers and employees are scattered
+throughout numerous locations.  Its business office is located at
+809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
+business@pglaf.org.  Email contact links and up to date contact
+information can be found at the Foundation's web site and official
+page at http://pglaf.org
+
+For additional contact information:
+     Dr. Gregory B. Newby
+     Chief Executive and Director
+     gbnewby@pglaf.org
+
+
+Section 4.  Information about Donations to the Project Gutenberg
+Literary Archive Foundation
+
+Project Gutenberg-tm depends upon and cannot survive without wide
+spread 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 http://pglaf.org
+
+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: http://pglaf.org/donate
+
+
+Section 5.  General Information About Project Gutenberg-tm electronic
+works.
+
+Professor Michael S. Hart is the originator of the Project Gutenberg-tm
+concept of a library of electronic works that could be freely shared
+with anyone.  For thirty years, he produced and distributed Project
+Gutenberg-tm eBooks with only a loose network of volunteer support.
+
+
+Project Gutenberg-tm eBooks are often created from several printed
+editions, all of which are confirmed as Public Domain 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 Web site which has the main PG search facility:
+
+     http://www.gutenberg.org
+
+This Web site includes information about Project Gutenberg-tm,
+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.
+
+
+</pre>
+  </body>
+</html>
diff --git a/23512.txt b/23512.txt
new file mode 100644
index 0000000..010ab9b
--- /dev/null
+++ b/23512.txt
@@ -0,0 +1,1251 @@
+Project Gutenberg's Mam' Lyddy's Recognition, by Thomas Nelson Page
+
+This eBook is for the use of anyone anywhere 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
+
+
+Title: Mam' Lyddy's Recognition
+       1908
+
+Author: Thomas Nelson Page
+
+Release Date: November 16, 2007 [EBook #23512]
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK MAM' LYDDY'S RECOGNITION ***
+
+
+
+
+Produced by David Widger
+
+
+
+
+
+
+MAM' LYDDY'S RECOGNITION
+
+By Thomas Nelson Page
+
+Charles Scribner's Sons New York, 1908
+
+Copyright, 1891, 1904, 1906
+
+
+
+
+I
+
+When Cabell Graeme was courting pretty Betty French up at the Chateau
+place, though he had many rivals and not a few obstacles to overcome, he
+had the good fortune to secure one valuable ally, whose friendship stood
+him in good stead. She was of a rich chocolate tint, with good features,
+and long hair, possibly inherited from some Arab ancestor, bead-like
+black eyes, and a voice like a harp, but which on occasion could become
+a flame. Her figure was short and stocky; but more dignity was never
+compressed within the same number of cubic inches.
+
+Mam' Lyddy had been in the French family all her life, as her mother and
+grandmother had been before her. She had rocked on her ample bosom the
+best part of three generations. And when Freedom came, however much she
+may have appreciated being free, she had much too high an estimate of
+the standing of the Frenches to descend to the level of the class she
+had always contemned as "free niggers." She was a deep-dyed aristocrat.
+
+The Frenches were generally esteemed to be among the oldest and best
+families in the county, and the Chateau plantation, with its wide fields
+and fine old mansion, was commonly reckoned one of the finest in that
+section. But no such comparative statement would have satisfied Mam'
+Lyddy. She firmly believed that the Frenches were the greatest people in
+the world, and it would have added nothing to her dignity had they been
+princes, because it could have added nothing to it to be told that
+she was a member of a royal house. Part mentor, part dependent, part
+domestic, she knew her position, and within her province her place
+was as unquestioned as was that of her mistress, and her advice was as
+carefully considered.
+
+Caesar, her husband, a tall, ebony lath, with a bald head and meek eyes,
+had come out of another family and was treated with condescension. No
+one knew how often he was reminded of his lower estate; but it was often
+enough, for he was always in a somewhat humble and apologetic attitude.
+
+The Frenches were known as a "likely" family, but Betty, with her oval
+face, soft eyes, and skin like a magnolia flower, was so undeniably the
+beauty that she was called "Pretty Betty." She was equally undeniably
+the belle. And while the old woman, who idolized her, found far more
+pleasure than even her mother in her belleship, she was as watchful over
+her as Argus. Every young man of the many who haunted the old French
+mansion among its oaks and maples had to meet the scrutiny of those
+sharp, tack-like eyes. The least slip that one made was enough to prove
+his downfall. The old woman sifted them as surely as she sifted her
+meal, and branded them with an infallible instinct akin to that of a
+keen watchdog. Many a young man who passed that silent figure without a
+greeting, or spoke lightly of some one, unheeding her presence, wondered
+at his want of success and felt without knowing why that he was pulling
+against an unseen current.
+
+"We must drop him--he ain't a gent'man," she said of one. Of another:
+"Oh! Oh! honey, he won't do. He ain't our kind." Or, "Betty, let him go,
+my Lamb. De Frenches don't pick up dat kine o' stick."
+
+Happily for Cabell Graeme, he had the old woman's approval. In the first
+place, he was related to the Frenches, and this in her eyes was a
+patent of gentility. Then, he had always been kind to little Betty and
+particularly civil to herself. He not only never omitted to ask after
+her health, but also inquired as to her pet ailments of "misery in her
+foot" and "whirlin' in her head," with an interest which flattered her
+deeply. But it went further back than that Once, when Betty was a little
+girl, Cabell, then a well-grown boy of twelve, had found her and her
+mammy on the wrong side of a muddy road, and wading through, he had
+carried Betty across, and then wading back, had offered to carry Mam'
+Lyddy over, too.
+
+"Go way f'om heah, boy, you can't carry me."
+
+"Yes, I can, Mam' Lyddy. You don't know how strong I am." He squared
+himself for the feat.
+
+She laughed at him, and with a flash in his gray eyes he suddenly
+grabbed her.
+
+"I 'll show you."
+
+There was quite a scuffle. She was too heavy for him, but he won her
+friendship then and there, and as he grew up straight and sturdy, the
+friendship ripened. That he teased her and laughed at her did not in the
+least offend her. No one else could have taken such a liberty with
+her, but Cabell's references to old Caesar's declining health, and his
+innuendoes whenever she was "fixed up" that she was "looking around" in
+advance only amused her. It made no difference to her that he was poor,
+while several others of Betty's beaux were rich. He was "a gent'man,"
+and she was an aristocrat.
+
+At times they had pitched battles, but each knew that the other was an
+ally.
+
+Cabell won his final victory by an audacity which few would have dared
+venture on. Among his rivals was one Mr. Hereford, whom he particularly
+disliked, partly because he frequently "outsat" him, and partly because
+he thought Miss Betty favored his attentions too much, and whom Mammy
+Lyddy detested because he always ignored her. Cabell charged her with
+deserting his cause and going over to the side of Mr. Hereford, and
+threatened to carry off the prize in spite of her and her ally.
+
+"You cyant cyah off nothin'," she said with a sniff of mock disdain.
+His eyes snapped. Without a word he seized her, and notwithstanding her
+resistance he lifted her, and flinging her over his shoulder, as if she
+had been a sack of corn, stalked up the steps and into the house, where
+he set her down abashed and vanquished before her astonished young
+mistress. The old woman pretended to be furious, but that day Cabell
+Graeme carried off more than Mam' Lyddy.
+
+When Cabel and pretty Betty were married, Mam' Lyddy threw in her lot
+with "her lamb."
+
+Through all the evil days of carpet-bag rule, no white, not even Cabell
+Graeme himself, who was a leader of the young men, had looked with more
+burning contempt on the new-comers, or shown a sterner front to the
+miscreants who despoiled the country. And when Negro rule was at its
+worst, Mam' Lyddy was its most bitter reviler. Cabell Graeme was a
+captain among the young men who finally put down the evil element that
+had been running its riotous course. And during the fierce fight that
+was waged, he was much away from home; but he knew that in Mam' Lyddy he
+had left as redoubtable a guardian of his wife and babies as ever kept
+watch on a picket line.
+
+Among the most obnoxious of the colored leaders was one Amos Brown, a
+young negro with some education, who to the gift of fluency added enough
+shrewdness to become a leader. He was while in power one of the most
+dangerous men in the State, and so long as he had backing enough, he
+staggered at nothing to keep the negroes stirred up. One of his schemes
+was to get money from the negroes with which to pay, as he claimed, ten
+per cent, for the best plantations in the State, after which, according
+to his account, the Government was to give them the places. This scheme
+worked well enough till the day of reckoning came, but happily it came.
+Among those who were duped was old Caesar, who, unknown to Mam' Lyddy,
+invested all his little savings in Amos Brown's homestead-plan and was
+robbed. Partly in terror of Mam' Lyddy and partly in hopes of saving his
+money, the old man made a full disclosure of the scheme, and with the
+proof he furnished, Cabell Graeme and others succeeded in sending the
+statesman to the penitentiary.
+
+What Caesar possibly had to endure from Mam' Lyddy, only those could
+imagine who knew her blistering tongue. From that time she took herself
+not only everything that she made, but every cent that old Caesar made.
+
+"You keep 'dis for me, Marse Cab. I 'm never goin' to trust dat Caesar
+wid a cent long as I live. A nigger ain't got a bit o' sense about
+money."
+
+But though Caesar would gladly have paid all he made to purchase
+immunity from her revilings, it is probable that he heard of his error
+at least three times a day during the rest of his natural life.
+
+
+
+
+II
+
+As long as the old people lived, the French place was kept up; but the
+exactions of hereditary hospitality ate deeply into what the war had
+left, and after the death of old Colonel French and Mrs. French, and the
+division of the estate, there was little left but the land, and that was
+encumbered.
+
+Happily, Cabell Graeme was sufficiently successful as a lawyer, not
+only to keep his little family in comfort, but to receive an offer of
+a connection in the North, which made it clearly to his interest to go
+there. One of the main obstacles in the way of the move was Mam' Lyddy.
+She would have gone with them, but for the combined influences of Old
+Caesar and a henhouse full of hens that were sitting. The old man was
+in his last illness, and a slow decline, and the chickens would soon be
+hatched. Since, however, it was apparent that old Caesar would soon be
+gone, as that the chickens would soon be hatched, Graeme having arranged
+for Caesar's comfort, took his family with him when he moved.
+
+He knew that the breaking-up would be a wrench; but it was worse than
+he had expected, for their roots were deep in the old soil. Old friends,
+when they said good-by, wrung his hand with the faces men wear when
+they take a last look at a friend's face. The parting with the mammy was
+especially bitter. It brought the break-up home as few things had done.
+And when Mr. and Mrs. Graeme reached their new home with its strange
+surroundings, her absence made it all the stranger.
+
+The change in the servants marked the change in the life. The family
+found it hard to reconcile themselves to it. Mrs. Graeme had always been
+accustomed to the old servants, who were like members of the family,
+and to find her domestics regarding her as an enemy or as their prey
+disturbed and distressed her.
+
+"You are going to try colored servants?" asked one of her new friends in
+some surprise.
+
+"Oh, yes, I am quite used to them."
+
+"Well.--Perhaps--but I doubt if you are used to these."
+
+Mrs. Graeme soon discovered her mistake. One after another was tried and
+discarded. Those who knew nothing remained until they had learned enough
+to be useful and then departed, while those who knew a little thought
+they knew everything and brooked no direction. And all were insolent.
+With or without notice the dusky procession passed through the house,
+each out-goer taking with her some memento of her transient stay.
+
+"I do not know what is the matter," sighed Mrs. Graeme. "I always
+thought I could get along with colored people; but somehow these are
+different. Why is it, Cabell!"
+
+"Spoiled," said her husband, laconically. "The mistake was in the
+emancipation proclamation. _Domestic_ servants ought to have been
+excepted."
+
+His humor, however, did not appeal to his wife. The case was too
+serious.
+
+"The last one I had told me, that if I did not like what she called
+coffee--and which I really thought was tea--I 'd better cook for myself.
+And that other maid, after wearing one of my best dresses, walked off
+with a brand-new waist. I am only standing the present one till Mammy
+comes. She says she likes to be called 'Miss Johnson.'"
+
+"_I_ paid twenty dollars last week for the privilege of chucking a dusky
+gentleman down the steps; but I did not begrudge it," said her husband,
+cheerfully. "The justice who imposed the fine said to me afterward that
+the only mistake I had made was in not breaking his neck."
+
+*****
+
+At last, old Caesar was gathered to his dusky fathers, and the chickens
+having been mainly disposed of, Mr. Graeme went down and brought the old
+mammy on.
+
+He had written the old woman to come by a certain train to Washington
+where he would meet her, and true to his appointment he met that train.
+But in the motley throng that filed through the gate was no Mam' Lyddy,
+and inquiring of the train men showed that no one answering to her
+description could have been on the train.
+
+Just as Graeme was turning away to go to the telegraph desk, one of
+the gray-clad colored porters, a stout, middle-aged man with a pleasant
+voice, and the address of a gentleman, approached him,
+
+"Were you looking for some one, sir?"
+
+"Yes, for an old colored woman, my wife's old mammy."
+
+"Well, I think you may find her in the inner waiting-room. There is an
+old lady in there, who has been waiting there all day. She came in on
+the morning train, and said she was expecting you. If you will come with
+me, I will show you."
+
+"She 's been there all day," the porter said, with a laugh, as they
+walked along. "I asked who she was waiting for; but she wouldn't tell
+me. She said it was none of my business."
+
+"I fancy that 's she," said Graeme.
+
+"Yes, sir, that 's she, sure."
+
+Graeme thanked him. With a chuckle he led the way to where ensconced
+in a corner, surrounded by bundles and baskets and clad in the deepest
+black, and with a flaming red bow at her throat, sat Mammy Lyddy.
+
+"Here 's the gentleman you were looking for," said the porter kindly.
+
+At sight of Graeme she rose so hastily that many of her bundles rolled
+on the floor.
+
+"Why, Mammy! Why did n't you come on the train I wrote you to come on?"
+enquired Graeme.
+
+"Well, you tole me to come to-day, and I thought I would like to be on
+time, so I came this morning."
+
+"Now, if you will let me have your tickets, I will attend to everything
+for you," said the porter to Graeme.
+
+The old woman gave him a swift glance, and then seeing Graeme hand him
+his ticket, she turned her back, and began to fish in some mysterious
+recess in her garments, and after a long exploration brought out a small
+bag containing her ticket.
+
+"Is he one of your servants!" she asked Graeme in an undertone.
+
+Graeme smiled. "Well, I think he is--he is everybody's servant and
+friend."
+
+"I did n't know. He comes roun' inquirin' 'bout my business so officious
+I thought sure he was one o' dese Gov'ment folks, and I done had 'nough
+to do wid dat kind."
+
+"Like Amos Brown, Caesar's friend."
+
+It was a sore subject with the old woman.
+
+"Well, I did n't know--I thought he was one o' dese perliss. So I sent
+him 'long 'bout he own business. But if you know him it 's all right."
+
+The passengers who streamed through the great station the evening of
+her arrival, were surprised to see a pudgy old black woman escorted by a
+gentleman who, loaded down with her bundles and baskets, was guiding her
+through the throng as respectfully as if she had been the first lady in
+the land. At the gate a lady and several children were awaiting her,
+and at sight of her a cry of joy went up. Dropping her bundles, the old
+woman threw herself into the lady's arms and kissed her again and again,
+after which she received a multitude of kisses from the children.
+
+"Well, I never saw anything like that," said a stranger to another.
+
+"She is their mammy," said the other one simply, with a pleasant light
+in his eyes.
+
+The old woman's presence seemed to transform the house. She was no
+sooner installed than she took possession. That very morning she
+established her position, after a sharp but decisive battle with the
+airy "colored lady," who for some days had been dawdling about the
+house. The mammy had gauged her as soon as her sharp eyes fell on her.
+
+"What does yo' call yo'self?" she asked her.
+
+"What is my name? I am called 'Miss Johnson--Miss Selina Johnson.'"
+
+The old woman gave a sniff.
+
+"Yo' is! Well, what does yo' call you'self doin' heah?"
+
+"You mean what is my employment! I am the help--one of the help."
+
+"Yo' is!" Mam' Lyddy tightened her apron-strings about her stout
+waist. "Well, 'Miss Johnson,' you git holt of that mat-trass and help me
+meek up dis heah bed so it 'll be fit for you' mistis to sleep on it."
+With a jerk she turned up the mattress. The maid was so taken aback for
+a moment that she did not speak. Then she drew herself up.
+
+"I know I ain' gwine to tetch it. I done made it up onct to-day. An' I
+ain't got no mistis."
+
+The mammy turned on her.
+
+"Umh'm! I thought so! I knows jest yo' kind. Well, de sooner you git out
+o' dis room de better for you. 'Cause if I lay my han' 'pon you I won't
+let you go till I'se done what yo' mammy ought to 'a' done to you ev'y
+day o' yo' life."
+
+She moved toward her with so dangerous a gleam in her sharp little eyes
+that "Miss Johnson" deemed it safest to beat a hasty retreat, and before
+bedtime had disappeared from the premises entirely.
+
+In the kitchen the old woman had been equally strenuous. She had shown
+the cook in one evening that she knew more about cooking than that
+well-satisfied person had ever dreamed any one knew. She had taught
+the other maid that she knew by instinct every lurking place of dirt,
+however skilfully hidden, and, withal, she had inspired them both with
+so much dread of her two-edged tongue that they were doing their best to
+conciliate her by a zeal and civility they had never shown before.
+
+For the first time the Graemes knew what comfort was in their new home.
+
+"Well, this is something like home," said Mrs. Graeme that evening as
+she sat by the lamp. "Why, I feel like little Ben. He said to-night,
+'Mamma, Mammy brought old times with her.'"
+
+"May she live forever!" said Graeme.
+
+In time, however, Mrs. Graeme began to feel that the old woman was
+confining herself too closely to the house. She needed some recreation.
+She had not even been to church, and Mrs. Graeme knew that this was her
+chief delight.
+
+Yes, she would like to go to church, she said, but she did not know
+"about dese fine chutches." She did not like much to go on the streets.
+"Dere was too many strange folks around for her. Dey did n't keer
+nuthin' for her ner she for dem." And it was "de same way, she reckoned,
+with de chutches. Dey wuz new niggers, and she did n't had no use for
+dem, nor dey for her."
+
+Mrs. Graeme, however, was insistent. Not far off, she had learned, was
+a colored church, "Mount Salem," over which the Reverend Amos Johnson
+presided with much show of broadcloth and silk hat. He had considerable
+reputation as a speaker, and from time to time appeared in the
+newspapers as a rather ranting writer on matters with a political
+coloring. Mrs. Graeme explained to the old woman that she need have no
+more to do with the people than she wished, and the following Sunday she
+went herself with her to the door of the church. Before leaving her she
+gave her a half-dollar to put in the plate, and asked a solemn-looking
+usher to show her a good seat.
+
+When the old woman returned she was interested, but critical. "I'se been
+used to chutch all my life," she declared, "but I never saw no fixin's
+like dat. Br'er George Wash'n'ton Thomas of Mount Zion was de fancies'
+one I ever seen; but he could n't tetch dat man. Why, dey outdoes white
+folks!"
+
+"Were n't they nice to you!" asked her mistress.
+
+"Nor 'm', none too nice. Dat one what you spoke to for me wuz gwine to
+give me a seat; but a uppish young yaller one stopped him an' made him
+teck me back and stick me in a corner behind a pillar. But he did n't
+stick me so fur back 't dey did n't fine me when dey tecked up de money.
+When I put in dat fif'-cent you gi' me, he jumped like a pin had stick
+him. I dropped 't in so 't would soun', I tell you!"
+
+This gave Mrs. Graeme an idea, and she encouraged her to go again the
+following Sunday, and this time gave her a dollar to put in the plate.
+
+"Be sure and drop it in so it will sound," she said to her.
+
+"I 'm gwine to."
+
+"Well, how did you come out to-dayf" she asked her on her return.
+
+"Right well. Dey did n't stick me quite so fur back, and when I drap de
+dollar in dey wuz several on 'em lookin', and when de chutch was over
+dey come runnin' arter me, an', tell me ef I come next time dey 'll have
+a good seat for me. I 'm gwine agin, but fust thing dey know I 'm gwine
+to fool 'em. I ain't gwine put a dollar in agin, I know."
+
+Mrs. Graeme laughed. "Oh! you must pay for being in society. We all do."
+
+"I know _I_ ain't," declared the old woman, "and I don't reckon you
+gwine to gi' me a dollar ev 'y Sunday."
+
+"I certainly am not. I am only getting you launched."
+
+The following week Mrs. Graeme said to her husband, "I think Mammy is
+launched. The preacher came to the front door to-day and asked to see
+Mrs. Quivers. At first I did not know whom he meant. Then he said it
+was 'a colored lady.' You never saw any one so gotten up--silk hat, kid
+gloves, and ebony cane. And Mammy was quite set up by it. She says the
+preacher is from home and knew Caesar. She was really airy afterward."
+
+Mr. Graeme uttered an objurgation. "You will ruin that old woman, and
+with her the best old negro that ever was."
+
+"Oh, no," said Mrs. Graeme, "there is no danger of that. You could n't
+spoil her."
+
+A few weeks later she said: "Yes, Mammy is launched. She told me to-day
+she wanted to join the club, and when I asked, what club, she said, 'the
+Colored Ladies Siciety Club.'" "I should say she was launched," sniffed
+Mr. Graeme. "She told me she wanted her money to invest it herself. The
+old fool! They will rob her of it."
+
+
+
+
+III
+
+The weeks that followed, and Mam' Lyddy's immersion in "Siciety" began
+apparently to justify Mr. Graeme's prophecy. A marked change had taken
+place in the old woman's dress, and no less a change had taken place in
+herself. She began to go out a good deal, and her manner was quite new.
+She was what a few weeks before she would have derided as "citified and
+airified." At length Mrs. Graeme could not conceal it from herself any
+longer.
+
+One evening as her husband on his return from his office threw himself
+on his chair with the evening paper, she brought up the subject.
+
+"Cabell, it is true; you have noticed the change!"
+
+"What? I have no doubt I have." He glanced at his wife to see if she had
+on a new dress or had changed the mode of wearing her hair, then gazed
+about him rather uneasily to see if the furniture had been shifted
+about, or if the pictures had been changed; points on which his wife was
+inclined to be particular.
+
+"The change in Mammy! Why, I should never know her for the same person."
+
+"Of course, I have. I have noticed nothing else. Why, she is dressed as
+fine as a fiddle. She is 'taking notice.' She 'll be giving Old Caesar
+a successor. Then what will you do? I thought that fat darky I have seen
+going in at the back gate with a silk hat and a long-tailed coat looked
+like a preacher. You 'd better look out for him. You know she was always
+stuck on preachers. He is a preacher, sure."
+
+"He is," observed the small boy on the floor. "That 's the Reverend Mr.
+Johnson. And, oh! He certainly can blow beautiful smoke-rings. He can
+blow a whole dozen and make 'em go through each other. You just ought to
+see him, papa."
+
+His father glanced casually at the cigar box on the table.
+
+"I think I will some day," said he, half grimly.
+
+"I never would know her for the same person. Why, she is so changed!"
+pursued Mrs. Graeme. "She goes out half the time, and this morning she
+was so cross! She says she is as good as I am if she is black. She is
+getting like these others up here."
+
+Mr. Graeme flung down the paper he was reading.
+
+"It is these Northern negroes who have upset her, and the fools like the
+editor of that paper who have upset them."
+
+Mrs. Graeme looked reflective.
+
+"That preacher has been coming here a good deal lately. I wonder if that
+could have anything to do with it!" she said, slowly.
+
+Her husband sniffed.
+
+"I will find out."
+
+At that moment the door opened and in walked Mam' Lyddy and a small boy
+in all the glory of five years, and all the pride of his first pair of
+breeches. The old woman's face wore an expression of glumness wholly
+new to her, and Mr. Graeme's mouth tightened. His wife had only time to
+whisper: "Now, don't you say a word to her." But she was too late. Mam'
+Lyddy's expression drove him to disobedience. He gave her a keen glance,
+and then said, half jocularly: "Old woman, what is the matter with you
+lately!"
+
+Mam' Lyddy did not answer immediately. She looked away, then said: "Wid
+me? Ain't nuttin' de matter wid me."
+
+"Oh, yes, there is. What is it? Do you want to go home?"
+
+She appeared half startled for an instant, then answered more sharply:
+"Nor, I don't wan' go home. I ain' got no home to go to."
+
+"Oh, yes, you have. Well, what is the matter? Out with it. Have you lost
+any money!"
+
+"Nor, I ain' lost no money 's _I_ knows on."
+
+"Been playing lottery?"
+
+"I don' know what dat is."
+
+"You don't, ah! Well, you would if you had been in Wall Street lately.
+Well, what is the matter? You are going around here as glum as a
+meat-axe. Something 's up. What is it?"
+
+"Ain' nothin' de matter wid _me_." She glanced away under her master's
+half amused, half disdainful glance, then added half surlily: "I wants
+_rec'nition_."
+
+"Want recognition? What do you mean?"
+
+"Dat 's what _we_ wants," declared the old woman, acquiring courage.
+
+Graeme laughed.
+
+"What is recognition?"
+
+"I don't know what 't is edzac'ly, but dat's what we _wants_. You all 's
+got it and you got to gi' it to _us_."
+
+"You mean you want to sit at table with us!" exclaimed Mrs. Graeme.
+
+Mammy Lyddy turned toward her. "You know I don't mean nuttin' like dat!
+I leetle more 'n smacked that yaller gal' what you call you' maid over
+'bout talkin' dat way t'other day."
+
+"Then what do you want!"
+
+"I wants _rec'nition_--dat's all I wants."
+
+"Who told you to say that!" asked Mr. Graeme.
+
+"Who tol' me to say dat?" She was puzzled.
+
+"Yes."
+
+"Ain' nobody tol' me to say it."
+
+"Yes, some one has. Who was it?---the Reverend Johnson? Did n't he tell
+you that!"
+
+She hesitated; but Mr. Graeme's eye was searching.
+
+"Well, he no mo' 'n others--no _much_ mo'. Of co'se, he tol' me dat--he
+_preaches_ 'bout it; but did n't nobody _have_ to tell me--I knows 'bout
+it myself."
+
+"Of course you did, and you must have it. So shall the Reverend Mr.
+Johnson," said Mr. Graeme. His tone expressed such sudden amiability
+that the old woman glanced at him suspiciously, but he was smiling
+softly and thoughtfully to himself.
+
+"What did you do with the four hundred and fifty-five dollars you drew
+out of bank last week? Did you invest it or lend it to Mr. Johnson?" It
+was a bow drawn at venture, but the arrow hit the mark, as Mr. Graeme
+saw.
+
+"I 'vested it."
+
+"You mean Mr. Johnson invested it for you? By the way, what is his first
+name!"
+
+"Yes, sir. His name 's de Rev. Amos Johnson."
+
+"By George! I thought so," said Graeme, half aloud. "I saw him at the
+races last week. I knew I had seen him before." His countenance grew
+suddenly cheerful.
+
+"What did he give you to show for it?"
+
+"He did n't gi' me nothin'. He 's gwine to draw the intrust for me."
+
+"Oh! I thought so. Well, I want to see the Rev. Mr. Johnson when he
+comes next time. When do you expect him?"
+
+"I ain't 'pectin' him 't all. He comes sometimes. He was a friend o'
+Caesar's."
+
+"Ah! he was! So I thought. Comes to smoke a cigar, I suppose!"
+
+She looked so uneasy that he went on casually: "Well, it 's very well;
+always keep in with the cloth. He is a fine preacher, I hear! Keeps
+quite up with the times--interested in the races in more senses than
+one."
+
+"Yes, sir; he preaches very well."
+
+"That is all. Well, your friend must have 'rec'nition.'"
+
+The old woman withdrew.
+
+The following day Graeme went down to a detective agency and left a
+memorandum. A few days later he received a message from the agency:
+"Yes, he is the same man. He frequents the pool-rooms a good deal. Came
+from Kentucky. He used to be known as 'Amos Brown.'"
+
+
+
+
+IV
+
+For some days Mr. Graeme took to coming home earlier than usual, and one
+evening he was rewarded. Just after his arrival little Ben came in,
+and, climbing up to his cigar box, took out several cigars, and silently
+withdrew. As soon as he had disappeared his father stepped to the
+telephone, and, calling up the detective agency, asked that an officer
+be sent around to his house immediately. A few minutes later the officer
+arrived, and after a few words with him Mr. Graeme stationed him at the
+back gate and strolled back toward the kitchen. As he softly approached
+the door he heard voices within-one of them his little boy's voice, the
+other the deep, unctuous tones of a negro man. The child was begging the
+latter to blow smoke-wreaths, and the man was bartering with him.
+
+"Well, you must get me _more_ cigars; remember what I told you--six
+wreaths for one cigar."
+
+At this moment the mammy evidently came in, for Mr. Graeme heard the man
+caution the child, and heard her voice for the first time,
+
+"What dat you telling dat chile?" she demanded, suspiciously.
+
+"Nothing. I was just entertaining him by blowing a few of those artistic
+wreaths he admires so much. My good friends keep me in cigars. It is one
+of the few consolations in a hard-working pastor's life. Well, sister,
+I called around to tell you your investment promises to be even more
+remunerative than I expected--and to tell you if you have any more,
+or even can borrow any, to let me place it as you did the other. I can
+guarantee to double it for you in a short time."
+
+"I ain' got any more--an' ain' got nobody to lend me none."
+
+"Well, ah! Could n 't you get any from your employer?" He lowered
+his voice; but Graeme caught the words. "You could raise money on the
+silver--and they would never know it. Besides, they owe it to you for
+all the work you have done without payment. Think how many years you
+worked for them as a slave without pay."
+
+"Now, I ain' gwine to do dat!" exclaimed the old woman.
+
+At this moment Graeme softly opened the door. The mammy was standing
+with her back to him, and in one chair, tilted back with his feet in
+another chair, was a large and unctuous-looking negro of middle age, in
+all the glory of a black broadcloth coat and a white tie. He was engaged
+at the moment in blowing small wreaths, while little Ben stood by and
+gazed at him with open-eyed wonder and delight.
+
+At sight of Mr. Graeme, the preacher with a gulp, which sadly disturbed
+his last effort, rose to his feet. An expression of fear flitted across
+his face, then gave way to a crafty, half-insolent look.
+
+"Good evening, sir," he began, with an insinuating smile, not wholly
+free from uneasiness.
+
+"Good evening, Amos. Mammy, will you kindly go to your mistress. Take
+the boy with you. Run along, son."
+
+The old woman with a half-scared air led the child out, and Mr.
+Graeme closed the door and turned back to the visitor, who looked much
+embarrassed.
+
+"Take my cigars out of your pocket."
+
+The preacher's hand went involuntarily to his breast-pocket, and then
+came down.
+
+"What! Your cigars out of my pocket? I have no cigars of yours, sir." He
+spoke with slightly rising severity, as Mr. Graeme remained so calm.
+
+"Oh, yes, you have. But no matter for the present. You had just as well
+leave them there for a moment. What are you doing, coming here all the
+time?"
+
+"What am I doing?--Coming here? I am a minister of the Gawspel, sir, and
+I have a member of my congregation here, and I come to look after her
+welfare."
+
+"And to see that she gets recognition?"
+
+"Suh?"--with a wince.
+
+"And incidentally to rob me of my cigars, and her of her small
+savings"--pursued Mr. Graeme, calmly.
+
+"Suh? Nor, suh, I has not done dat I will take my oath to it on the word
+of Almighty God."
+
+The veneer of his fine speech had all been dropped, and the Rev. Johnson
+was talking naturally enough now.
+
+"What did you do with that money you took from her?"
+
+"What did I do wid--? What money?"
+
+Mr. Graeme showed impatience for the first time.
+
+"The four hundred and fifty-five dollars you got from her. Was there
+more than that?"
+
+At this point Mam' Lyddy opened the door and came in. She looked
+somewhat mystified and rather disturbed, but she said nothing. She only
+took her stand, and with arms folded waited silent and observant.
+
+The negro saw that Mr. Graeme knew of the fact and answered promptly.
+
+"Oh! You are mistaken, sir. I have taken no money of her. You can ax
+her. She had a sum of money which I as a favor to her invested for her.
+You can ask the sister there. I suppose you refer to that!"
+
+"Invested! In what?"
+
+"Ah--ur--in--ur--the Afro-American Sister's Loan and Trust Association.
+I have promised to invest it in that for her."
+
+He stammered a good deal at the start, but was glib enough when he
+brought out the name. "Didn't I, sister!"
+
+"Yes, sir." The old woman was manifestly impressed. The preacher's
+cunning face brightened.
+
+"You see what she says?"
+
+"With its chief office at the Race-course out here," said Graeme, with a
+toss of his head. "Look here, I want you to get that money."
+
+The negro shot a glance at Mam' Lyddy and decided that she would stand
+by him. He suddenly stiffened up and resumed his affected manner.
+
+"Well, sir, I do not know by what right you interfere with my
+affairs--or this lady's."
+
+"You don 't? Well, that's what I am going to show you now. My right is
+that she is a member of my family, whom I am going to protect from just
+such scoundrels and thieves as you, Amos Brown."
+
+The preacher received the name like a blow.
+
+At the words the old mammy jumped as if she were shot. She leaned
+forward, moving up slowly.
+
+"What's dat?--'Amos _Brown_'? What's dat you said, Marse Cabell? 'Amos
+_Brown_'?"
+
+Mr. Graeme nodded. "Yes. This is Amos Brown, 'a friend of Caesar's.'"
+
+"Indeed, I ain 't suh. I'm de Reverend Amos Johnson--" began the
+preacher, but his looks belied him. Mammy Lyddy took in the truth, and
+the next second the storm broke.
+
+"'Amos Brown' you is? I might 'a' knowd it! You thief! You a friend of
+Caesar's! Whar's my money?--My money you stole from Caesar? You come
+talkin' to me 'bout rec'nition? I done rec'nize you, you black nigger.
+Let me get at him, Marse Gabelle."
+
+The old woman swept toward him with so threatening an air that Graeme
+interposed, and the preacher retreated behind him for protection. Even
+that place of security did not, however, save him from her vitriolic
+tongue. She poured out on him the vials of her wrath till Graeme,
+fearing she might drop down in a faint, stopped her.
+
+"Stop now. I will settle with him."
+
+His authoritative air quieted her, but she still stood glowering and
+muttering her wrath.
+
+"You will have that money back here by to-morrow at this hour or I will
+put you in the penitentiary, where you have already been once and ought
+to be now. And now you will take my cigars out of your pocket, or I will
+hand you to that policeman out there at the door. Out with them."
+
+"Boss, I ain't got no cigars o' yo's. I 'll swar to it on de wud o'----"
+
+"Out with them--or--" Mr. Graeme turned to open the door. The negro,
+after a glance at Mam' Lyddy, slowly took several cigars from his
+pockets.
+
+"Dese is all de cigars I has--and dey wuz given to me by a friend," he
+said, surlily.
+
+"Yes, by my little boy. I know. Lay them there. I will keep them till
+to-morrow. And now go and get that money."
+
+"What money?--I can't git dat money--dat money is invested."
+
+"Then you bring the securities in which it is invested. I know where
+that money went. You go and rob some one else--but have that money at my
+office to-morrow before three o'clock or I 'll put you in jail to-morrow
+night. And if you ever put your foot on this place or speak to that old
+woman again, I 'll have you arrested. Do you understand!"
+
+"Yes, sir."
+
+"Now go." He opened the door.
+
+"Officer, do you recognize this man!"
+
+"Yes, sir, I know him."
+
+"Well, I am going to let him go for the present"
+
+The Rev. Amos was already slinking down the street. Mr. Graeme turned to
+the old woman.
+
+"You want recognition?"
+
+"Nor, suh, I don't" She gave a whimper. "I wants my money. I wants to
+git hold of dat black nigger what 's done rob me talkin' 'bout bein'
+sich a friend o' Caesar's."
+
+"Do you want to go home?"
+
+"Dis is my home." She spoke humbly, but firmly.
+
+Two days afterward Mrs. Graeme said:
+
+"Cabell, Mammy is converted. It is like old times."
+
+"I think it will last," said her husband. "She is out four hundred and
+fifty-five dollars, and the Mount Salem flock is temporarily without
+a shepherd. The Rev. Amos Johnson was gathered in this morning for
+fleecing one of his sheep and signing the wrong name to a check."
+
+
+
+
+
+
+End of Project Gutenberg's Mam' Lyddy's Recognition, by Thomas Nelson Page
+
+*** END OF THIS PROJECT GUTENBERG EBOOK MAM' LYDDY'S RECOGNITION ***
+
+***** This file should be named 23512.txt or 23512.zip *****
+This and all associated files of various formats will be found in:
+        http://www.gutenberg.org/2/3/5/1/23512/
+
+Produced by David Widger
+
+Updated editions will replace the previous one--the old editions
+will be renamed.
+
+Creating the works from public domain print editions 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-tm electronic works to
+protect the PROJECT GUTENBERG-tm concept and trademark.  Project
+Gutenberg is a registered trademark, and may not be used if you
+charge for the eBooks, unless you receive specific permission.  If you
+do not charge anything for copies of this eBook, complying with the
+rules is very easy.  You may use this eBook for nearly any purpose
+such as creation of derivative works, reports, performances and
+research.  They may be modified and printed and given away--you may do
+practically ANYTHING with public domain eBooks.  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-tm 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-tm License (available with this file or online at
+http://gutenberg.org/license).
+
+
+Section 1.  General Terms of Use and Redistributing Project Gutenberg-tm
+electronic works
+
+1.A.  By reading or using any part of this Project Gutenberg-tm
+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-tm electronic works in your possession.
+If you paid a fee for obtaining a copy of or access to a Project
+Gutenberg-tm 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-tm 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-tm electronic works if you follow the terms of this agreement
+and help preserve free future access to Project Gutenberg-tm 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-tm electronic works.  Nearly all the individual works in the
+collection are in the public domain in the United States.  If an
+individual work is in the public domain 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-tm mission of promoting free access to electronic works by
+freely sharing Project Gutenberg-tm works in compliance with the terms of
+this agreement for keeping the Project Gutenberg-tm 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-tm 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-tm work.  The Foundation makes no representations concerning
+the copyright status of any work in any country outside 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-tm License must appear prominently
+whenever any copy of a Project Gutenberg-tm 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 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
+
+1.E.2.  If an individual Project Gutenberg-tm electronic work is derived
+from the public domain (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-tm trademark as set forth in paragraphs 1.E.8 or
+1.E.9.
+
+1.E.3.  If an individual Project Gutenberg-tm 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-tm 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-tm
+License terms from this work, or any files containing a part of this
+work or any other work associated with Project Gutenberg-tm.
+
+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-tm 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-tm work in a format other than
+"Plain Vanilla ASCII" or other format used in the official version
+posted on the official Project Gutenberg-tm web site (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-tm
+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-tm 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-tm electronic works provided
+that
+
+- You pay a royalty fee of 20% of the gross profits you derive from
+     the use of Project Gutenberg-tm works calculated using the method
+     you already use to calculate your applicable taxes.  The fee is
+     owed to the owner of the Project Gutenberg-tm 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-tm
+     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-tm 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-tm works.
+
+1.E.9.  If you wish to charge a fee or distribute a Project Gutenberg-tm
+electronic work or group of works on different terms than are set
+forth in this agreement, you must obtain permission in writing from
+both the Project Gutenberg Literary Archive Foundation and Michael
+Hart, the owner of the Project Gutenberg-tm 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
+public domain works in creating the Project Gutenberg-tm
+collection.  Despite these efforts, Project Gutenberg-tm 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-tm trademark, and any other party distributing a Project
+Gutenberg-tm 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 F3.  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 MERCHANTIBILITY 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-tm electronic works in accordance
+with this agreement, and any volunteers associated with the production,
+promotion and distribution of Project Gutenberg-tm 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-tm
+work, (b) alteration, modification, or additions or deletions to any
+Project Gutenberg-tm work, and (c) any Defect you cause.
+
+
+Section  2.  Information about the Mission of Project Gutenberg-tm
+
+Project Gutenberg-tm 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, is critical to reaching Project Gutenberg-tm's
+goals and ensuring that the Project Gutenberg-tm 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-tm 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 web page at http://www.pglaf.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.  Its 501(c)(3) letter is posted at
+http://pglaf.org/fundraising.  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 principal office is located at 4557 Melan Dr. S.
+Fairbanks, AK, 99712., but its volunteers and employees are scattered
+throughout numerous locations.  Its business office is located at
+809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
+business@pglaf.org.  Email contact links and up to date contact
+information can be found at the Foundation's web site and official
+page at http://pglaf.org
+
+For additional contact information:
+     Dr. Gregory B. Newby
+     Chief Executive and Director
+     gbnewby@pglaf.org
+
+
+Section 4.  Information about Donations to the Project Gutenberg
+Literary Archive Foundation
+
+Project Gutenberg-tm depends upon and cannot survive without wide
+spread 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 http://pglaf.org
+
+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: http://pglaf.org/donate
+
+
+Section 5.  General Information About Project Gutenberg-tm electronic
+works.
+
+Professor Michael S. Hart is the originator of the Project Gutenberg-tm
+concept of a library of electronic works that could be freely shared
+with anyone.  For thirty years, he produced and distributed Project
+Gutenberg-tm eBooks with only a loose network of volunteer support.
+
+
+Project Gutenberg-tm eBooks are often created from several printed
+editions, all of which are confirmed as Public Domain 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 Web site which has the main PG search facility:
+
+     http://www.gutenberg.org
+
+This Web site includes information about Project Gutenberg-tm,
+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.
diff --git a/23512.zip b/23512.zip
new file mode 100644
index 0000000..d33589b
--- /dev/null
+++ b/23512.zip
diff --git a/LICENSE.txt b/LICENSE.txt
new file mode 100644
index 0000000..6312041
--- /dev/null
+++ b/LICENSE.txt
@@ -0,0 +1,11 @@
+This eBook, including all associated images, markup, improvements,
+metadata, and any other content or labor, has been confirmed to be
+in the PUBLIC DOMAIN IN THE UNITED STATES.
+
+Procedures for determining public domain status are described in
+the "Copyright How-To" at https://www.gutenberg.org.
+
+No investigation has been made concerning possible copyrights in
+jurisdictions other than the United States. Anyone seeking to utilize
+this eBook outside of the United States should confirm copyright
+status under the laws that apply to them.
diff --git a/README.md b/README.md
new file mode 100644
index 0000000..c7948ec
--- /dev/null
+++ b/README.md
@@ -0,0 +1,2 @@
+Project Gutenberg (https://www.gutenberg.org) public repository for
+eBook #23512 (https://www.gutenberg.org/ebooks/23512)
diff --git a/old/23512-h.htm.2021-01-25 b/old/23512-h.htm.2021-01-25
new file mode 100644
index 0000000..53d9a24
--- /dev/null
+++ b/old/23512-h.htm.2021-01-25
@@ -0,0 +1,1562 @@
+<?xml version="1.0" encoding="utf-8"?>
+
+<!DOCTYPE html
+   PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
+   "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd" >
+
+<html xmlns="http://www.w3.org/1999/xhtml" lang="en">
+  <head>
+    <title>
+      Mam' Lyddy's Recognition, by Thomas Nelson Page
+    </title>
+    <style type="text/css" xml:space="preserve">
+
+    body { margin:5%; background:#faebd0; text-align:justify}
+    P { text-indent: 1em; margin-top: .25em; margin-bottom: .25em; }
+    H1,H2,H3,H4,H5,H6 { text-align: center; margin-left: 15%; margin-right: 15%; }
+    hr  { width: 50%; text-align: center;}
+    .foot { margin-left: 20%; margin-right: 20%; text-align: justify; text-indent: -3em; font-size: 90%; }
+    blockquote {font-size: 97%; font-style: italic; margin-left: 10%; margin-right: 10%;}
+    .mynote    {background-color: #DDE; color: #000; padding: .5em; margin-left: 10%; margin-right: 10%; font-family: sans-serif; font-size: 95%;}
+    .toc       { margin-left: 10%; margin-bottom: .75em;}
+    .toc2      { margin-left: 20%;}
+    div.fig    { display:block; margin:0 auto; text-align:center; }
+    div.middle { margin-left: 20%; margin-right: 20%; text-align: justify; }
+    .figleft   {float: left; margin-left: 0%; margin-right: 1%;}
+    .figright  {float: right; margin-right: 0%; margin-left: 1%;}
+    .pagenum   {display:inline; font-size: 70%; font-style:normal;
+               margin: 0; padding: 0; position: absolute; right: 1%;
+               text-align: right;}
+    pre        { font-style: italic; font-size: 90%; margin-left: 10%;}
+
+</style>
+  </head>
+  <body>
+<pre xml:space="preserve">
+
+Project Gutenberg's Mam' Lyddy's Recognition, by Thomas Nelson Page
+
+This eBook is for the use of anyone anywhere 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
+
+
+Title: Mam' Lyddy's Recognition
+       1908
+
+Author: Thomas Nelson Page
+
+Release Date: November 16, 2007 [EBook #23512]
+Last Updated: March 8, 2018
+
+Language: English
+
+Character set encoding: UTF-8
+
+*** START OF THIS PROJECT GUTENBERG EBOOK MAM' LYDDY'S RECOGNITION ***
+
+
+
+
+Produced by David Widger
+
+
+
+
+
+</pre>
+    <div style="height: 8em;">
+      <br /><br /><br /><br /><br /><br /><br /><br />
+    </div>
+    <h1>
+      MAM' LYDDY'S RECOGNITION
+    </h1>
+    <h2>
+      By Thomas Nelson Page <br /> <br /> Charles Scribner's Sons New York, 1908
+      <br /><br /> Copyright, 1891, 1904, 1906
+    </h2>
+    <p>
+      <br /> <br />
+    </p>
+    <hr />
+    <p>
+      <br /> <br />
+    </p>
+    <h2>
+      Contents
+    </h2>
+    <table summary="" style="margin-right: auto; margin-left: auto">
+      <tr>
+        <td>
+          <p class="toc">
+            <a href="#link2H_4_0001"> I </a>
+          </p>
+          <p class="toc">
+            <a href="#link2H_4_0002"> II </a>
+          </p>
+          <p class="toc">
+            <a href="#link2H_4_0003"> III </a>
+          </p>
+          <p class="toc">
+            <a href="#link2H_4_0004"> IV </a>
+          </p>
+        </td>
+      </tr>
+    </table>
+    <p>
+      <br /> <br />
+    </p>
+    <hr />
+    <p>
+      <br /> <br /> <a name="link2H_4_0001" id="link2H_4_0001">
+      <!--  H2 anchor --> </a>
+    </p>
+    <div style="height: 4em;">
+      <br /><br /><br /><br />
+    </div>
+    <h2>
+      I
+    </h2>
+    <p>
+      When Cabell Graeme was courting pretty Betty French up at the Château
+      place, though he had many rivals and not a few obstacles to overcome, he
+      had the good fortune to secure one valuable ally, whose friendship stood
+      him in good stead. She was of a rich chocolate tint, with good features,
+      and long hair, possibly inherited from some Arab ancestor, bead-like black
+      eyes, and a voice like a harp, but which on occasion could become a flame.
+      Her figure was short and stocky; but more dignity was never compressed
+      within the same number of cubic inches.
+    </p>
+    <p>
+      Mam' Lyddy had been in the French family all her life, as her mother and
+      grandmother had been before her. She had rocked on her ample bosom the
+      best part of three generations. And when Freedom came, however much she
+      may have appreciated being free, she had much too high an estimate of the
+      standing of the Frenches to descend to the level of the class she had
+      always contemned as &ldquo;free niggers.&rdquo; She was a deep-dyed aristocrat.
+    </p>
+    <p>
+      The Frenches were generally esteemed to be among the oldest and best
+      families in the county, and the Château plantation, with its wide fields
+      and fine old mansion, was commonly reckoned one of the finest in that
+      section. But no such comparative statement would have satisfied Mam'
+      Lyddy. She firmly believed that the Frenches were the greatest people in
+      the world, and it would have added nothing to her dignity had they been
+      princes, because it could have added nothing to it to be told that she was
+      a member of a royal house. Part mentor, part dependent, part domestic, she
+      knew her position, and within her province her place was as unquestioned
+      as was that of her mistress, and her advice was as carefully considered.
+    </p>
+    <p>
+      Caesar, her husband, a tall, ebony lath, with a bald head and meek eyes,
+      had come out of another family and was treated with condescension. No one
+      knew how often he was reminded of his lower estate; but it was often
+      enough, for he was always in a somewhat humble and apologetic attitude.
+    </p>
+    <p>
+      The Frenches were known as a &ldquo;likely&rdquo; family, but Betty, with her oval
+      face, soft eyes, and skin like a magnolia flower, was so undeniably the
+      beauty that she was called &ldquo;Pretty Betty.&rdquo; She was equally undeniably the
+      belle. And while the old woman, who idolized her, found far more pleasure
+      than even her mother in her belleship, she was as watchful over her as
+      Argus. Every young man of the many who haunted the old French mansion
+      among its oaks and maples had to meet the scrutiny of those sharp,
+      tack-like eyes. The least slip that one made was enough to prove his
+      downfall. The old woman sifted them as surely as she sifted her meal, and
+      branded them with an infallible instinct akin to that of a keen watchdog.
+      Many a young man who passed that silent figure without a greeting, or
+      spoke lightly of some one, unheeding her presence, wondered at his want of
+      success and felt without knowing why that he was pulling against an unseen
+      current.
+    </p>
+    <p>
+      &ldquo;We must drop him&mdash;he ain't a gent'man,&rdquo; she said of one. Of another:
+      &ldquo;Oh! Oh! honey, he won't do. He ain't our kind.&rdquo; Or, &ldquo;Betty, let him go,
+      my Lamb. De Frenches don't pick up dat kine o' stick.&rdquo;
+     </p>
+    <p>
+      Happily for Cabell Graeme, he had the old woman's approval. In the first
+      place, he was related to the Frenches, and this in her eyes was a patent
+      of gentility. Then, he had always been kind to little Betty and
+      particularly civil to herself. He not only never omitted to ask after her
+      health, but also inquired as to her pet ailments of &ldquo;misery in her foot&rdquo;
+       and &ldquo;whirlin' in her head,&rdquo; with an interest which flattered her deeply.
+      But it went further back than that Once, when Betty was a little girl,
+      Cabell, then a well-grown boy of twelve, had found her and her mammy on
+      the wrong side of a muddy road, and wading through, he had carried Betty
+      across, and then wading back, had offered to carry Mam' Lyddy over, too.
+    </p>
+    <p>
+      &ldquo;Go way f'om heah, boy, you can't carry me.&rdquo;
+     </p>
+    <p>
+      &ldquo;Yes, I can, Mam' Lyddy. You don't know how strong I am.&rdquo; He squared
+      himself for the feat.
+    </p>
+    <p>
+      She laughed at him, and with a flash in his gray eyes he suddenly grabbed
+      her.
+    </p>
+    <p>
+      &ldquo;I 'll show you.&rdquo;
+     </p>
+    <p>
+      There was quite a scuffle. She was too heavy for him, but he won her
+      friendship then and there, and as he grew up straight and sturdy, the
+      friendship ripened. That he teased her and laughed at her did not in the
+      least offend her. No one else could have taken such a liberty with her,
+      but Cabell's references to old Caesar's declining health, and his
+      innuendoes whenever she was &ldquo;fixed up&rdquo; that she was &ldquo;looking around&rdquo; in
+      advance only amused her. It made no difference to her that he was poor,
+      while several others of Betty's beaux were rich. He was &ldquo;a gent'man,&rdquo; and
+      she was an aristocrat.
+    </p>
+    <p>
+      At times they had pitched battles, but each knew that the other was an
+      ally.
+    </p>
+    <p>
+      Cabell won his final victory by an audacity which few would have dared
+      venture on. Among his rivals was one Mr. Hereford, whom he particularly
+      disliked, partly because he frequently &ldquo;outsat&rdquo; him, and partly because he
+      thought Miss Betty favored his attentions too much, and whom Mammy Lyddy
+      detested because he always ignored her. Cabell charged her with deserting
+      his cause and going over to the side of Mr. Hereford, and threatened to
+      carry off the prize in spite of her and her ally.
+    </p>
+    <p>
+      &ldquo;You cyant cyah off nothin',&rdquo; she said with a sniff of mock disdain. His
+      eyes snapped. Without a word he seized her, and notwithstanding her
+      resistance he lifted her, and flinging her over his shoulder, as if she
+      had been a sack of corn, stalked up the steps and into the house, where he
+      set her down abashed and vanquished before her astonished young mistress.
+      The old woman pretended to be furious, but that day Cabell Graeme carried
+      off more than Mam' Lyddy.
+    </p>
+    <p>
+      When Cabel and pretty Betty were married, Mam' Lyddy threw in her lot with
+      &ldquo;her lamb.&rdquo;
+     </p>
+    <p>
+      Through all the evil days of carpet-bag rule, no white, not even Cabell
+      Graeme himself, who was a leader of the young men, had looked with more
+      burning contempt on the new-comers, or shown a sterner front to the
+      miscreants who despoiled the country. And when Negro rule was at its
+      worst, Mam' Lyddy was its most bitter reviler. Cabell Graeme was a captain
+      among the young men who finally put down the evil element that had been
+      running its riotous course. And during the fierce fight that was waged, he
+      was much away from home; but he knew that in Mam' Lyddy he had left as
+      redoubtable a guardian of his wife and babies as ever kept watch on a
+      picket line.
+    </p>
+    <p>
+      Among the most obnoxious of the colored leaders was one Amos Brown, a
+      young negro with some education, who to the gift of fluency added enough
+      shrewdness to become a leader. He was while in power one of the most
+      dangerous men in the State, and so long as he had backing enough, he
+      staggered at nothing to keep the negroes stirred up. One of his schemes
+      was to get money from the negroes with which to pay, as he claimed, ten
+      per cent, for the best plantations in the State, after which, according to
+      his account, the Government was to give them the places. This scheme
+      worked well enough till the day of reckoning came, but happily it came.
+      Among those who were duped was old Caesar, who, unknown to Mam' Lyddy,
+      invested all his little savings in Amos Brown's homestead-plan and was
+      robbed. Partly in terror of Mam' Lyddy and partly in hopes of saving his
+      money, the old man made a full disclosure of the scheme, and with the
+      proof he furnished, Cabell Graeme and others succeeded in sending the
+      statesman to the penitentiary.
+    </p>
+    <p>
+      What Caesar possibly had to endure from Mam' Lyddy, only those could
+      imagine who knew her blistering tongue. From that time she took herself
+      not only everything that she made, but every cent that old Caesar made.
+    </p>
+    <p>
+      &ldquo;You keep 'dis for me, Marse Cab. I 'm never goin' to trust dat Caesar wid
+      a cent long as I live. A nigger ain't got a bit o' sense about money.&rdquo;
+     </p>
+    <p>
+      But though Caesar would gladly have paid all he made to purchase immunity
+      from her revilings, it is probable that he heard of his error at least
+      three times a day during the rest of his natural life.
+    </p>
+    <p>
+      <a name="link2H_4_0002" id="link2H_4_0002">
+      <!--  H2 anchor --> </a>
+    </p>
+    <div style="height: 4em;">
+      <br /><br /><br /><br />
+    </div>
+    <h2>
+      II
+    </h2>
+    <p>
+      As long as the old people lived, the French place was kept up; but the
+      exactions of hereditary hospitality ate deeply into what the war had left,
+      and after the death of old Colonel French and Mrs. French, and the
+      division of the estate, there was little left but the land, and that was
+      encumbered.
+    </p>
+    <p>
+      Happily, Cabell Graeme was sufficiently successful as a lawyer, not only
+      to keep his little family in comfort, but to receive an offer of a
+      connection in the North, which made it clearly to his interest to go
+      there. One of the main obstacles in the way of the move was Mam' Lyddy.
+      She would have gone with them, but for the combined influences of Old
+      Caesar and a henhouse full of hens that were sitting. The old man was in
+      his last illness, and a slow decline, and the chickens would soon be
+      hatched. Since, however, it was apparent that old Cæsar would soon be
+      gone, as that the chickens would soon be hatched, Graeme having arranged
+      for Cæsar's comfort, took his family with him when he moved.
+    </p>
+    <p>
+      He knew that the breaking-up would be a wrench; but it was worse than he
+      had expected, for their roots were deep in the old soil. Old friends, when
+      they said good-by, wrung his hand with the faces men wear when they take a
+      last look at a friend's face. The parting with the mammy was especially
+      bitter. It brought the break-up home as few things had done. And when Mr.
+      and Mrs. Graeme reached their new home with its strange surroundings, her
+      absence made it all the stranger.
+    </p>
+    <p>
+      The change in the servants marked the change in the life. The family found
+      it hard to reconcile themselves to it. Mrs. Graeme had always been
+      accustomed to the old servants, who were like members of the family, and
+      to find her domestics regarding her as an enemy or as their prey disturbed
+      and distressed her.
+    </p>
+    <p>
+      &ldquo;You are going to try colored servants?&rdquo; asked one of her new friends in
+      some surprise.
+    </p>
+    <p>
+      &ldquo;Oh, yes, I am quite used to them.&rdquo;
+     </p>
+    <p>
+      &ldquo;Well.&mdash;Perhaps&mdash;but I doubt if you are used to these.&rdquo;
+     </p>
+    <p>
+      Mrs. Graeme soon discovered her mistake. One after another was tried and
+      discarded. Those who knew nothing remained until they had learned enough
+      to be useful and then departed, while those who knew a little thought they
+      knew everything and brooked no direction. And all were insolent. With or
+      without notice the dusky procession passed through the house, each
+      out-goer taking with her some memento of her transient stay.
+    </p>
+    <p>
+      &ldquo;I do not know what is the matter,&rdquo; sighed Mrs. Graeme. &ldquo;I always thought
+      I could get along with colored people; but somehow these are different.
+      Why is it, Cabell!&rdquo;
+     </p>
+    <p>
+      &ldquo;Spoiled,&rdquo; said her husband, laconically. &ldquo;The mistake was in the
+      emancipation proclamation. <i>Domestic</i> servants ought to have been
+      excepted.&rdquo;
+     </p>
+    <p>
+      His humor, however, did not appeal to his wife. The case was too serious.
+    </p>
+    <p>
+      &ldquo;The last one I had told me, that if I did not like what she called coffee&mdash;and
+      which I really thought was tea&mdash;I 'd better cook for myself. And that
+      other maid, after wearing one of my best dresses, walked off with a
+      brand-new waist. I am only standing the present one till Mammy comes. She
+      says she likes to be called 'Miss Johnson.'&rdquo;
+     </p>
+    <p>
+      &ldquo;<i>I</i> paid twenty dollars last week for the privilege of chucking a
+      dusky gentleman down the steps; but I did not begrudge it,&rdquo; said her
+      husband, cheerfully. &ldquo;The justice who imposed the fine said to me
+      afterward that the only mistake I had made was in not breaking his neck.&rdquo;
+     </p>
+    <hr />
+    <p>
+      At last, old Caesar was gathered to his dusky fathers, and the chickens
+      having been mainly disposed of, Mr. Graeme went down and brought the old
+      mammy on.
+    </p>
+    <p>
+      He had written the old woman to come by a certain train to Washington
+      where he would meet her, and true to his appointment he met that train.
+      But in the motley throng that filed through the gate was no Mam' Lyddy,
+      and inquiring of the train men showed that no one answering to her
+      description could have been on the train.
+    </p>
+    <p>
+      Just as Graeme was turning away to go to the telegraph desk, one of the
+      gray-clad colored porters, a stout, middle-aged man with a pleasant voice,
+      and the address of a gentleman, approached him,
+    </p>
+    <p>
+      &ldquo;Were you looking for some one, sir?&rdquo;
+     </p>
+    <p>
+      &ldquo;Yes, for an old colored woman, my wife's old mammy.&rdquo;
+     </p>
+    <p>
+      &ldquo;Well, I think you may find her in the inner waiting-room. There is an old
+      lady in there, who has been waiting there all day. She came in on the
+      morning train, and said she was expecting you. If you will come with me, I
+      will show you.&rdquo;
+     </p>
+    <p>
+      &ldquo;She 's been there all day,&rdquo; the porter said, with a laugh, as they walked
+      along. &ldquo;I asked who she was waiting for; but she wouldn't tell me. She
+      said it was none of my business.&rdquo;
+     </p>
+    <p>
+      &ldquo;I fancy that 's she,&rdquo; said Graeme.
+    </p>
+    <p>
+      &ldquo;Yes, sir, that 's she, sure.&rdquo;
+     </p>
+    <p>
+      Graeme thanked him. With a chuckle he led the way to where ensconced in a
+      corner, surrounded by bundles and baskets and clad in the deepest black,
+      and with a flaming red bow at her throat, sat Mammy Lyddy.
+    </p>
+    <p>
+      &ldquo;Here 's the gentleman you were looking for,&rdquo; said the porter kindly.
+    </p>
+    <p>
+      At sight of Graeme she rose so hastily that many of her bundles rolled on
+      the floor.
+    </p>
+    <p>
+      &ldquo;Why, Mammy! Why did n't you come on the train I wrote you to come on?&rdquo;
+       enquired Graeme.
+    </p>
+    <p>
+      &ldquo;Well, you tole me to come to-day, and I thought I would like to be on
+      time, so I came this morning.&rdquo;
+     </p>
+    <p>
+      &ldquo;Now, if you will let me have your tickets, I will attend to everything
+      for you,&rdquo; said the porter to Graeme.
+    </p>
+    <p>
+      The old woman gave him a swift glance, and then seeing Graeme hand him his
+      ticket, she turned her back, and began to fish in some mysterious recess
+      in her garments, and after a long exploration brought out a small bag
+      containing her ticket.
+    </p>
+    <p>
+      &ldquo;Is he one of your servants!&rdquo; she asked Graeme in an undertone.
+    </p>
+    <p>
+      Graeme smiled. &ldquo;Well, I think he is&mdash;he is everybody's servant and
+      friend.&rdquo;
+     </p>
+    <p>
+      &ldquo;I did n't know. He comes roun' inquirin' 'bout my business so officious I
+      thought sure he was one o' dese Gov'ment folks, and I done had 'nough to
+      do wid dat kind.&rdquo;
+     </p>
+    <p>
+      &ldquo;Like Amos Brown, Caesar's friend.&rdquo;
+     </p>
+    <p>
+      It was a sore subject with the old woman.
+    </p>
+    <p>
+      &ldquo;Well, I did n't know&mdash;I thought he was one o' dese perliss. So I
+      sent him 'long 'bout he own business. But if you know him it 's all
+      right.&rdquo;
+     </p>
+    <p>
+      The passengers who streamed through the great station the evening of her
+      arrival, were surprised to see a pudgy old black woman escorted by a
+      gentleman who, loaded down with her bundles and baskets, was guiding her
+      through the throng as respectfully as if she had been the first lady in
+      the land. At the gate a lady and several children were awaiting her, and
+      at sight of her a cry of joy went up. Dropping her bundles, the old woman
+      threw herself into the lady's arms and kissed her again and again, after
+      which she received a multitude of kisses from the children.
+    </p>
+    <p>
+      &ldquo;Well, I never saw anything like that,&rdquo; said a stranger to another.
+    </p>
+    <p>
+      &ldquo;She is their mammy,&rdquo; said the other one simply, with a pleasant light in
+      his eyes.
+    </p>
+    <p>
+      The old woman's presence seemed to transform the house. She was no sooner
+      installed than she took possession. That very morning she established her
+      position, after a sharp but decisive battle with the airy &ldquo;colored lady,&rdquo;
+       who for some days had been dawdling about the house. The mammy had gauged
+      her as soon as her sharp eyes fell on her.
+    </p>
+    <p>
+      &ldquo;What does yo' call yo'self?&rdquo; she asked her.
+    </p>
+    <p>
+      &ldquo;What is my name? I am called 'Miss Johnson&mdash;Miss Selina Johnson.'&rdquo;
+     </p>
+    <p>
+      The old woman gave a sniff.
+    </p>
+    <p>
+      &ldquo;Yo' is! Well, what does yo' call you'self doin' heah?&rdquo;
+     </p>
+    <p>
+      &ldquo;You mean what is my employment! I am the help&mdash;one of the help.&rdquo;
+     </p>
+    <p>
+      &ldquo;Yo' is!&rdquo; Mam' Lyddy tightened her apron-strings about her stout waist.
+      &ldquo;Well, 'Miss Johnson,' you git holt of that mat-trass and help me meek up
+      dis heah bed so it 'll be fit for you' mistis to sleep on it.&rdquo; With a jerk
+      she turned up the mattress. The maid was so taken aback for a moment that
+      she did not speak. Then she drew herself up.
+    </p>
+    <p>
+      &ldquo;I know I ain' gwine to tetch it. I done made it up onct to-day. An' I
+      ain't got no mistis.&rdquo;
+     </p>
+    <p>
+      The mammy turned on her.
+    </p>
+    <p>
+      &ldquo;Umh'm! I thought so! I knows jest yo' kind. Well, de sooner you git out
+      o' dis room de better for you. 'Cause if I lay my han' 'pon you I won't
+      let you go till I'se done what yo' mammy ought to 'a' done to you ev'y day
+      o' yo' life.&rdquo;
+     </p>
+    <p>
+      She moved toward her with so dangerous a gleam in her sharp little eyes
+      that &ldquo;Miss Johnson&rdquo; deemed it safest to beat a hasty retreat, and before
+      bedtime had disappeared from the premises entirely.
+    </p>
+    <p>
+      In the kitchen the old woman had been equally strenuous. She had shown the
+      cook in one evening that she knew more about cooking than that
+      well-satisfied person had ever dreamed any one knew. She had taught the
+      other maid that she knew by instinct every lurking place of dirt, however
+      skilfully hidden, and, withal, she had inspired them both with so much
+      dread of her two-edged tongue that they were doing their best to
+      conciliate her by a zeal and civility they had never shown before.
+    </p>
+    <p>
+      For the first time the Graemes knew what comfort was in their new home.
+    </p>
+    <p>
+      &ldquo;Well, this is something like home,&rdquo; said Mrs. Graeme that evening as she
+      sat by the lamp. &ldquo;Why, I feel like little Ben. He said to-night, 'Mamma,
+      Mammy brought old times with her.'&rdquo;
+     </p>
+    <p>
+      &ldquo;May she live forever!&rdquo; said Graeme.
+    </p>
+    <p>
+      In time, however, Mrs. Graeme began to feel that the old woman was
+      confining herself too closely to the house. She needed some recreation.
+      She had not even been to church, and Mrs. Graeme knew that this was her
+      chief delight.
+    </p>
+    <p>
+      Yes, she would like to go to church, she said, but she did not know &ldquo;about
+      dese fine chutches.&rdquo; She did not like much to go on the streets. &ldquo;Dere was
+      too many strange folks around for her. Dey did n't keer nuthin' for her
+      ner she for dem.&rdquo; And it was &ldquo;de same way, she reckoned, with de chutches.
+      Dey wuz new niggers, and she did n't had no use for dem, nor dey for her.&rdquo;
+     </p>
+    <p>
+      Mrs. Graeme, however, was insistent. Not far off, she had learned, was a
+      colored church, &ldquo;Mount Salem,&rdquo; over which the Reverend Amos Johnson
+      presided with much show of broadcloth and silk hat. He had considerable
+      reputation as a speaker, and from time to time appeared in the newspapers
+      as a rather ranting writer on matters with a political coloring. Mrs.
+      Graeme explained to the old woman that she need have no more to do with
+      the people than she wished, and the following Sunday she went herself with
+      her to the door of the church. Before leaving her she gave her a
+      half-dollar to put in the plate, and asked a solemn-looking usher to show
+      her a good seat.
+    </p>
+    <p>
+      When the old woman returned she was interested, but critical. &ldquo;I'se been
+      used to chutch all my life,&rdquo; she declared, &ldquo;but I never saw no fixin's
+      like dat. Br'er George Wash'n'ton Thomas of Mount Zion was de fancies' one
+      I ever seen; but he could n't tetch dat man. Why, dey outdoes white
+      folks!&rdquo;
+     </p>
+    <p>
+      &ldquo;Were n't they nice to you!&rdquo; asked her mistress.
+    </p>
+    <p>
+      &ldquo;Nor 'm', none too nice. Dat one what you spoke to for me wuz gwine to
+      give me a seat; but a uppish young yaller one stopped him an' made him
+      teck me back and stick me in a corner behind a pillar. But he did n't
+      stick me so fur back 't dey did n't fine me when dey tecked up de money.
+      When I put in dat fif'-cent you gi' me, he jumped like a pin had stick
+      him. I dropped 't in so 't would soun', I tell you!&rdquo;
+     </p>
+    <p>
+      This gave Mrs. Graeme an idea, and she encouraged her to go again the
+      following Sunday, and this time gave her a dollar to put in the plate.
+    </p>
+    <p>
+      &ldquo;Be sure and drop it in so it will sound,&rdquo; she said to her.
+    </p>
+    <p>
+      &ldquo;I 'm gwine to.&rdquo;
+     </p>
+    <p>
+      &ldquo;Well, how did you come out to-dayf&rdquo; she asked her on her return.
+    </p>
+    <p>
+      &ldquo;Right well. Dey did n't stick me quite so fur back, and when I drap de
+      dollar in dey wuz several on 'em lookin', and when de chutch was over dey
+      come runnin' arter me, an', tell me ef I come next time dey 'll have a
+      good seat for me. I 'm gwine agin, but fust thing dey know I 'm gwine to
+      fool 'em. I ain't gwine put a dollar in agin, I know.&rdquo;
+     </p>
+    <p>
+      Mrs. Graeme laughed. &ldquo;Oh! you must pay for being in society. We all do.&rdquo;
+     </p>
+    <p>
+      &ldquo;I know <i>I</i> ain't,&rdquo; declared the old woman, &ldquo;and I don't reckon you
+      gwine to gi' me a dollar ev 'y Sunday.&rdquo;
+     </p>
+    <p>
+      &ldquo;I certainly am not. I am only getting you launched.&rdquo;
+     </p>
+    <p>
+      The following week Mrs. Graeme said to her husband, &ldquo;I think Mammy is
+      launched. The preacher came to the front door to-day and asked to see Mrs.
+      Quivers. At first I did not know whom he meant. Then he said it was 'a
+      colored lady.' You never saw any one so gotten up&mdash;silk hat, kid
+      gloves, and ebony cane. And Mammy was quite set up by it. She says the
+      preacher is from home and knew Caesar. She was really airy afterward.&rdquo;
+     </p>
+    <p>
+      Mr. Graeme uttered an objurgation. &ldquo;You will ruin that old woman, and with
+      her the best old negro that ever was.&rdquo;
+     </p>
+    <p>
+      &ldquo;Oh, no,&rdquo; said Mrs. Graeme, &ldquo;there is no danger of that. You could n't
+      spoil her.&rdquo;
+     </p>
+    <p>
+      A few weeks later she said: &ldquo;Yes, Mammy is launched. She told me to-day
+      she wanted to join the club, and when I asked, what club, she said, 'the
+      Colored Ladies Siciety Club.'&rdquo; &ldquo;I should say she was launched,&rdquo; sniffed
+      Mr. Graeme. &ldquo;She told me she wanted her money to invest it herself. The
+      old fool! They will rob her of it.&rdquo;
+     </p>
+    <p>
+      <a name="link2H_4_0003" id="link2H_4_0003">
+      <!--  H2 anchor --> </a>
+    </p>
+    <div style="height: 4em;">
+      <br /><br /><br /><br />
+    </div>
+    <h2>
+      III
+    </h2>
+    <p>
+      The weeks that followed, and Mam' Lyddy's immersion in &ldquo;Siciety&rdquo; began
+      apparently to justify Mr. Graeme's prophecy. A marked change had taken
+      place in the old woman's dress, and no less a change had taken place in
+      herself. She began to go out a good deal, and her manner was quite new.
+      She was what a few weeks before she would have derided as &ldquo;citified and
+      airified.&rdquo; At length Mrs. Graeme could not conceal it from herself any
+      longer.
+    </p>
+    <p>
+      One evening as her husband on his return from his office threw himself on
+      his chair with the evening paper, she brought up the subject.
+    </p>
+    <p>
+      &ldquo;Cabell, it is true; you have noticed the change!&rdquo;
+     </p>
+    <p>
+      &ldquo;What? I have no doubt I have.&rdquo; He glanced at his wife to see if she had
+      on a new dress or had changed the mode of wearing her hair, then gazed
+      about him rather uneasily to see if the furniture had been shifted about,
+      or if the pictures had been changed; points on which his wife was inclined
+      to be particular.
+    </p>
+    <p>
+      &ldquo;The change in Mammy! Why, I should never know her for the same person.&rdquo;
+     </p>
+    <p>
+      &ldquo;Of course, I have. I have noticed nothing else. Why, she is dressed as
+      fine as a fiddle. She is 'taking notice.' She 'll be giving Old Caesar a
+      successor. Then what will you do? I thought that fat darky I have seen
+      going in at the back gate with a silk hat and a long-tailed coat looked
+      like a preacher. You 'd better look out for him. You know she was always
+      stuck on preachers. He is a preacher, sure.&rdquo;
+     </p>
+    <p>
+      &ldquo;He is,&rdquo; observed the small boy on the floor. &ldquo;That 's the Reverend Mr.
+      Johnson. And, oh! He certainly can blow beautiful smoke-rings. He can blow
+      a whole dozen and make 'em go through each other. You just ought to see
+      him, papa.&rdquo;
+     </p>
+    <p>
+      His father glanced casually at the cigar box on the table.
+    </p>
+    <p>
+      &ldquo;I think I will some day,&rdquo; said he, half grimly.
+    </p>
+    <p>
+      &ldquo;I never would know her for the same person. Why, she is so changed!&rdquo;
+       pursued Mrs. Graeme. &ldquo;She goes out half the time, and this morning she was
+      so cross! She says she is as good as I am if she is black. She is getting
+      like these others up here.&rdquo;
+     </p>
+    <p>
+      Mr. Graeme flung down the paper he was reading.
+    </p>
+    <p>
+      &ldquo;It is these Northern negroes who have upset her, and the fools like the
+      editor of that paper who have upset them.&rdquo;
+     </p>
+    <p>
+      Mrs. Graeme looked reflective.
+    </p>
+    <p>
+      &ldquo;That preacher has been coming here a good deal lately. I wonder if that
+      could have anything to do with it!&rdquo; she said, slowly.
+    </p>
+    <p>
+      Her husband sniffed.
+    </p>
+    <p>
+      &ldquo;I will find out.&rdquo;
+     </p>
+    <p>
+      At that moment the door opened and in walked Mam' Lyddy and a small boy in
+      all the glory of five years, and all the pride of his first pair of
+      breeches. The old woman's face wore an expression of glumness wholly new
+      to her, and Mr. Graeme's mouth tightened. His wife had only time to
+      whisper: &ldquo;Now, don't you say a word to her.&rdquo; But she was too late. Mam'
+      Lyddy's expression drove him to disobedience. He gave her a keen glance,
+      and then said, half jocularly: &ldquo;Old woman, what is the matter with you
+      lately!&rdquo;
+     </p>
+    <p>
+      Mam' Lyddy did not answer immediately. She looked away, then said: &ldquo;Wid
+      me? Ain't nuttin' de matter wid me.&rdquo;
+     </p>
+    <p>
+      &ldquo;Oh, yes, there is. What is it? Do you want to go home?&rdquo;
+     </p>
+    <p>
+      She appeared half startled for an instant, then answered more sharply:
+      &ldquo;Nor, I don't wan' go home. I ain' got no home to go to.&rdquo;
+     </p>
+    <p>
+      &ldquo;Oh, yes, you have. Well, what is the matter? Out with it. Have you lost
+      any money!&rdquo;
+     </p>
+    <p>
+      &ldquo;Nor, I ain' lost no money 's <i>I</i> knows on.&rdquo;
+     </p>
+    <p>
+      &ldquo;Been playing lottery?&rdquo;
+     </p>
+    <p>
+      &ldquo;I don' know what dat is.&rdquo;
+     </p>
+    <p>
+      &ldquo;You don't, ah! Well, you would if you had been in Wall Street lately.
+      Well, what is the matter? You are going around here as glum as a meat-axe.
+      Something 's up. What is it?&rdquo;
+     </p>
+    <p>
+      &ldquo;Ain' nothin' de matter wid <i>me</i>.&rdquo; She glanced away under her
+      master's half amused, half disdainful glance, then added half surlily: &ldquo;I
+      wants <i>rec'nition</i>.&rdquo;
+     </p>
+    <p>
+      &ldquo;Want recognition? What do you mean?&rdquo;
+     </p>
+    <p>
+      &ldquo;Dat 's what <i>we</i> wants,&rdquo; declared the old woman, acquiring courage.
+    </p>
+    <p>
+      Graeme laughed.
+    </p>
+    <p>
+      &ldquo;What is recognition?&rdquo;
+     </p>
+    <p>
+      &ldquo;I don't know what 't is edzac'ly, but dat's what we <i>wants</i>. You all
+      's got it and you got to gi' it to <i>us</i>.&rdquo;
+     </p>
+    <p>
+      &ldquo;You mean you want to sit at table with us!&rdquo; exclaimed Mrs. Graeme.
+    </p>
+    <p>
+      Mammy Lyddy turned toward her. &ldquo;You know I don't mean nuttin' like dat! I
+      leetle more 'n smacked that yaller gal' what you call you' maid over 'bout
+      talkin' dat way t'other day.&rdquo;
+     </p>
+    <p>
+      &ldquo;Then what do you want!&rdquo;
+     </p>
+    <p>
+      &ldquo;I wants <i>rec'nition</i>&mdash;dat's all I wants.&rdquo;
+     </p>
+    <p>
+      &ldquo;Who told you to say that!&rdquo; asked Mr. Graeme.
+    </p>
+    <p>
+      &ldquo;Who tol' me to say dat?&rdquo; She was puzzled.
+    </p>
+    <p>
+      &ldquo;Yes.&rdquo;
+     </p>
+    <p>
+      &ldquo;Ain' nobody tol' me to say it.&rdquo;
+     </p>
+    <p>
+      &ldquo;Yes, some one has. Who was it?&mdash;-the Reverend Johnson? Did n't he
+      tell you that!&rdquo;
+     </p>
+    <p>
+      She hesitated; but Mr. Graeme's eye was searching.
+    </p>
+    <p>
+      &ldquo;Well, he no mo' 'n others&mdash;no <i>much</i> mo'. Of co'se, he tol' me
+      dat&mdash;he <i>preaches</i> 'bout it; but did n't nobody <i>have</i> to
+      tell me&mdash;I knows 'bout it myself.&rdquo;
+     </p>
+    <p>
+      &ldquo;Of course you did, and you must have it. So shall the Reverend Mr.
+      Johnson,&rdquo; said Mr. Graeme. His tone expressed such sudden amiability that
+      the old woman glanced at him suspiciously, but he was smiling softly and
+      thoughtfully to himself.
+    </p>
+    <p>
+      &ldquo;What did you do with the four hundred and fifty-five dollars you drew out
+      of bank last week? Did you invest it or lend it to Mr. Johnson?&rdquo; It was a
+      bow drawn at venture, but the arrow hit the mark, as Mr. Graeme saw.
+    </p>
+    <p>
+      &ldquo;I 'vested it.&rdquo;
+     </p>
+    <p>
+      &ldquo;You mean Mr. Johnson invested it for you? By the way, what is his first
+      name!&rdquo;
+     </p>
+    <p>
+      &ldquo;Yes, sir. His name 's de Rev. Amos Johnson.&rdquo;
+     </p>
+    <p>
+      &ldquo;By George! I thought so,&rdquo; said Graeme, half aloud. &ldquo;I saw him at the
+      races last week. I knew I had seen him before.&rdquo; His countenance grew
+      suddenly cheerful.
+    </p>
+    <p>
+      &ldquo;What did he give you to show for it?&rdquo;
+     </p>
+    <p>
+      &ldquo;He did n't gi' me nothin'. He 's gwine to draw the intrust for me.&rdquo;
+     </p>
+    <p>
+      &ldquo;Oh! I thought so. Well, I want to see the Rev. Mr. Johnson when he comes
+      next time. When do you expect him?&rdquo;
+     </p>
+    <p>
+      &ldquo;I ain't 'pectin' him 't all. He comes sometimes. He was a friend o'
+      Cæsar's.&rdquo;
+     </p>
+    <p>
+      &ldquo;Ah! he was! So I thought. Comes to smoke a cigar, I suppose!&rdquo;
+     </p>
+    <p>
+      She looked so uneasy that he went on casually: &ldquo;Well, it 's very well;
+      always keep in with the cloth. He is a fine preacher, I hear! Keeps quite
+      up with the times&mdash;interested in the races in more senses than one.&rdquo;
+     </p>
+    <p>
+      &ldquo;Yes, sir; he preaches very well.&rdquo;
+     </p>
+    <p>
+      &ldquo;That is all. Well, your friend must have 'rec'nition.'&rdquo;
+     </p>
+    <p>
+      The old woman withdrew.
+    </p>
+    <p>
+      The following day Graeme went down to a detective agency and left a
+      memorandum. A few days later he received a message from the agency: &ldquo;Yes,
+      he is the same man. He frequents the pool-rooms a good deal. Came from
+      Kentucky. He used to be known as 'Amos Brown.'&rdquo;
+     </p>
+    <p>
+      <a name="link2H_4_0004" id="link2H_4_0004">
+      <!--  H2 anchor --> </a>
+    </p>
+    <div style="height: 4em;">
+      <br /><br /><br /><br />
+    </div>
+    <h2>
+      IV
+    </h2>
+    <p>
+      For some days Mr. Graeme took to coming home earlier than usual, and one
+      evening he was rewarded. Just after his arrival little Ben came in, and,
+      climbing up to his cigar box, took out several cigars, and silently
+      withdrew. As soon as he had disappeared his father stepped to the
+      telephone, and, calling up the detective agency, asked that an officer be
+      sent around to his house immediately. A few minutes later the officer
+      arrived, and after a few words with him Mr. Graeme stationed him at the
+      back gate and strolled back toward the kitchen. As he softly approached
+      the door he heard voices within-one of them his little boy's voice, the
+      other the deep, unctuous tones of a negro man. The child was begging the
+      latter to blow smoke-wreaths, and the man was bartering with him.
+    </p>
+    <p>
+      &ldquo;Well, you must get me <i>more</i> cigars; remember what I told you&mdash;six
+      wreaths for one cigar.&rdquo;
+     </p>
+    <p>
+      At this moment the mammy evidently came in, for Mr. Graeme heard the man
+      caution the child, and heard her voice for the first time,
+    </p>
+    <p>
+      &ldquo;What dat you telling dat chile?&rdquo; she demanded, suspiciously.
+    </p>
+    <p>
+      &ldquo;Nothing. I was just entertaining him by blowing a few of those artistic
+      wreaths he admires so much. My good friends keep me in cigars. It is one
+      of the few consolations in a hard-working pastor's life. Well, sister, I
+      called around to tell you your investment promises to be even more
+      remunerative than I expected&mdash;and to tell you if you have any more,
+      or even can borrow any, to let me place it as you did the other. I can
+      guarantee to double it for you in a short time.&rdquo;
+     </p>
+    <p>
+      &ldquo;I ain' got any more&mdash;an' ain' got nobody to lend me none.&rdquo;
+     </p>
+    <p>
+      &ldquo;Well, ah! Could n 't you get any from your employer?&rdquo; He lowered his
+      voice; but Graeme caught the words. &ldquo;You could raise money on the silver&mdash;and
+      they would never know it. Besides, they owe it to you for all the work you
+      have done without payment. Think how many years you worked for them as a
+      slave without pay.&rdquo;
+     </p>
+    <p>
+      &ldquo;Now, I ain' gwine to do dat!&rdquo; exclaimed the old woman.
+    </p>
+    <p>
+      At this moment Graeme softly opened the door. The mammy was standing with
+      her back to him, and in one chair, tilted back with his feet in another
+      chair, was a large and unctuous-looking negro of middle age, in all the
+      glory of a black broadcloth coat and a white tie. He was engaged at the
+      moment in blowing small wreaths, while little Ben stood by and gazed at
+      him with open-eyed wonder and delight.
+    </p>
+    <p>
+      At sight of Mr. Graeme, the preacher with a gulp, which sadly disturbed
+      his last effort, rose to his feet. An expression of fear flitted across
+      his face, then gave way to a crafty, half-insolent look.
+    </p>
+    <p>
+      &ldquo;Good evening, sir,&rdquo; he began, with an insinuating smile, not wholly free
+      from uneasiness.
+    </p>
+    <p>
+      &ldquo;Good evening, Amos. Mammy, will you kindly go to your mistress. Take the
+      boy with you. Run along, son.&rdquo;
+     </p>
+    <p>
+      The old woman with a half-scared air led the child out, and Mr. Graeme
+      closed the door and turned back to the visitor, who looked much
+      embarrassed.
+    </p>
+    <p>
+      &ldquo;Take my cigars out of your pocket.&rdquo;
+     </p>
+    <p>
+      The preacher's hand went involuntarily to his breast-pocket, and then came
+      down.
+    </p>
+    <p>
+      &ldquo;What! Your cigars out of my pocket? I have no cigars of yours, sir.&rdquo; He
+      spoke with slightly rising severity, as Mr. Graeme remained so calm.
+    </p>
+    <p>
+      &ldquo;Oh, yes, you have. But no matter for the present. You had just as well
+      leave them there for a moment. What are you doing, coming here all the
+      time?&rdquo;
+     </p>
+    <p>
+      &ldquo;What am I doing?&mdash;Coming here? I am a minister of the Gawspel, sir,
+      and I have a member of my congregation here, and I come to look after her
+      welfare.&rdquo;
+     </p>
+    <p>
+      &ldquo;And to see that she gets recognition?&rdquo;
+     </p>
+    <p>
+      &ldquo;Suh?&rdquo;&mdash;with a wince.
+    </p>
+    <p>
+      &ldquo;And incidentally to rob me of my cigars, and her of her small savings&rdquo;&mdash;pursued
+      Mr. Graeme, calmly.
+    </p>
+    <p>
+      &ldquo;Suh? Nor, suh, I has not done dat I will take my oath to it on the word
+      of Almighty God.&rdquo;
+     </p>
+    <p>
+      The veneer of his fine speech had all been dropped, and the Rev. Johnson
+      was talking naturally enough now.
+    </p>
+    <p>
+      &ldquo;What did you do with that money you took from her?&rdquo;
+     </p>
+    <p>
+      &ldquo;What did I do wid&mdash;? What money?&rdquo;
+     </p>
+    <p>
+      Mr. Graeme showed impatience for the first time.
+    </p>
+    <p>
+      &ldquo;The four hundred and fifty-five dollars you got from her. Was there more
+      than that?&rdquo;
+     </p>
+    <p>
+      At this point Mam' Lyddy opened the door and came in. She looked somewhat
+      mystified and rather disturbed, but she said nothing. She only took her
+      stand, and with arms folded waited silent and observant.
+    </p>
+    <p>
+      The negro saw that Mr. Graeme knew of the fact and answered promptly.
+    </p>
+    <p>
+      &ldquo;Oh! You are mistaken, sir. I have taken no money of her. You can ax her.
+      She had a sum of money which I as a favor to her invested for her. You can
+      ask the sister there. I suppose you refer to that!&rdquo;
+     </p>
+    <p>
+      &ldquo;Invested! In what?&rdquo;
+     </p>
+    <p>
+      &ldquo;Ah&mdash;ur&mdash;in&mdash;ur&mdash;the Afro-American Sister's Loan and
+      Trust Association. I have promised to invest it in that for her.&rdquo;
+     </p>
+    <p>
+      He stammered a good deal at the start, but was glib enough when he brought
+      out the name. &ldquo;Didn't I, sister!&rdquo;
+     </p>
+    <p>
+      &ldquo;Yes, sir.&rdquo; The old woman was manifestly impressed. The preacher's cunning
+      face brightened.
+    </p>
+    <p>
+      &ldquo;You see what she says?&rdquo;
+     </p>
+    <p>
+      &ldquo;With its chief office at the Race-course out here,&rdquo; said Graeme, with a
+      toss of his head. &ldquo;Look here, I want you to get that money.&rdquo;
+     </p>
+    <p>
+      The negro shot a glance at Mam' Lyddy and decided that she would stand by
+      him. He suddenly stiffened up and resumed his affected manner.
+    </p>
+    <p>
+      &ldquo;Well, sir, I do not know by what right you interfere with my affairs&mdash;or
+      this lady's.&rdquo;
+     </p>
+    <p>
+      &ldquo;You don 't? Well, that's what I am going to show you now. My right is
+      that she is a member of my family, whom I am going to protect from just
+      such scoundrels and thieves as you, Amos Brown.&rdquo;
+     </p>
+    <p>
+      The preacher received the name like a blow.
+    </p>
+    <p>
+      At the words the old mammy jumped as if she were shot. She leaned forward,
+      moving up slowly.
+    </p>
+    <p>
+      &ldquo;What's dat?&mdash;'Amos <i>Brown</i>'? What's dat you said, Marse Cabell?
+      'Amos <i>Brown</i>'?&rdquo;
+     </p>
+    <p>
+      Mr. Graeme nodded. &ldquo;Yes. This is Amos Brown, 'a friend of Caesar's.'&rdquo;
+     </p>
+    <p>
+      &ldquo;Indeed, I ain 't suh. I'm de Reverend Amos Johnson&mdash;&rdquo; began the
+      preacher, but his looks belied him. Mammy Lyddy took in the truth, and the
+      next second the storm broke.
+    </p>
+    <p>
+      &ldquo;'Amos Brown' you is? I might 'a' knowd it! You thief! You a friend of
+      Caesar's! Whar's my money?&mdash;My money you stole from Caesar? You come
+      talkin' to me 'bout rec'nition? I done rec'nize you, you black nigger. Let
+      me get at him, Marse Gabelle.&rdquo;
+     </p>
+    <p>
+      The old woman swept toward him with so threatening an air that Graeme
+      interposed, and the preacher retreated behind him for protection. Even
+      that place of security did not, however, save him from her vitriolic
+      tongue. She poured out on him the vials of her wrath till Graeme, fearing
+      she might drop down in a faint, stopped her.
+    </p>
+    <p>
+      &ldquo;Stop now. I will settle with him.&rdquo;
+     </p>
+    <p>
+      His authoritative air quieted her, but she still stood glowering and
+      muttering her wrath.
+    </p>
+    <p>
+      &ldquo;You will have that money back here by to-morrow at this hour or I will
+      put you in the penitentiary, where you have already been once and ought to
+      be now. And now you will take my cigars out of your pocket, or I will hand
+      you to that policeman out there at the door. Out with them.&rdquo;
+     </p>
+    <p>
+      &ldquo;Boss, I ain't got no cigars o' yo's. I 'll swar to it on de wud o'&mdash;&mdash;&rdquo;
+     </p>
+    <p>
+      &ldquo;Out with them&mdash;or&mdash;&rdquo; Mr. Graeme turned to open the door. The
+      negro, after a glance at Mam' Lyddy, slowly took several cigars from his
+      pockets.
+    </p>
+    <p>
+      &ldquo;Dese is all de cigars I has&mdash;and dey wuz given to me by a friend,&rdquo;
+       he said, surlily.
+    </p>
+    <p>
+      &ldquo;Yes, by my little boy. I know. Lay them there. I will keep them till
+      to-morrow. And now go and get that money.&rdquo;
+     </p>
+    <p>
+      &ldquo;What money?&mdash;I can't git dat money&mdash;dat money is invested.&rdquo;
+     </p>
+    <p>
+      &ldquo;Then you bring the securities in which it is invested. I know where that
+      money went. You go and rob some one else&mdash;but have that money at my
+      office to-morrow before three o'clock or I 'll put you in jail to-morrow
+      night. And if you ever put your foot on this place or speak to that old
+      woman again, I 'll have you arrested. Do you understand!&rdquo;
+     </p>
+    <p>
+      &ldquo;Yes, sir.&rdquo;
+     </p>
+    <p>
+      &ldquo;Now go.&rdquo; He opened the door.
+    </p>
+    <p>
+      &ldquo;Officer, do you recognize this man!&rdquo;
+     </p>
+    <p>
+      &ldquo;Yes, sir, I know him.&rdquo;
+     </p>
+    <p>
+      &ldquo;Well, I am going to let him go for the present&rdquo;
+     </p>
+    <p>
+      The Rev. Amos was already slinking down the street. Mr. Graeme turned to
+      the old woman.
+    </p>
+    <p>
+      &ldquo;You want recognition?&rdquo;
+     </p>
+    <p>
+      &ldquo;Nor, suh, I don't&rdquo; She gave a whimper. &ldquo;I wants my money. I wants to git
+      hold of dat black nigger what 's done rob me talkin' 'bout bein' sich a
+      friend o' Caesar's.&rdquo;
+     </p>
+    <p>
+      &ldquo;Do you want to go home?&rdquo;
+     </p>
+    <p>
+      &ldquo;Dis is my home.&rdquo; She spoke humbly, but firmly.
+    </p>
+    <p>
+      Two days afterward Mrs. Graeme said:
+    </p>
+    <p>
+      &ldquo;Cabell, Mammy is converted. It is like old times.&rdquo;
+     </p>
+    <p>
+      &ldquo;I think it will last,&rdquo; said her husband. &ldquo;She is out four hundred and
+      fifty-five dollars, and the Mount Salem flock is temporarily without a
+      shepherd. The Rev. Amos Johnson was gathered in this morning for fleecing
+      one of his sheep and signing the wrong name to a check.&rdquo;
+     </p>
+    <div style="height: 6em;">
+      <br /><br /><br /><br /><br /><br />
+    </div>
+<pre xml:space="preserve">
+
+
+
+
+
+End of Project Gutenberg's Mam' Lyddy's Recognition, by Thomas Nelson Page
+
+*** END OF THIS PROJECT GUTENBERG EBOOK MAM' LYDDY'S RECOGNITION ***
+
+***** This file should be named 23512-h.htm or 23512-h.zip *****
+This and all associated files of various formats will be found in:
+        http://www.gutenberg.org/2/3/5/1/23512/
+
+Produced by David Widger
+
+Updated editions will replace the previous one--the old editions
+will be renamed.
+
+Creating the works from public domain print editions 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-tm electronic works to
+protect the PROJECT GUTENBERG-tm concept and trademark.  Project
+Gutenberg is a registered trademark, and may not be used if you
+charge for the eBooks, unless you receive specific permission.  If you
+do not charge anything for copies of this eBook, complying with the
+rules is very easy.  You may use this eBook for nearly any purpose
+such as creation of derivative works, reports, performances and
+research.  They may be modified and printed and given away--you may do
+practically ANYTHING with public domain eBooks.  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-tm 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 &ldquo;Project
+Gutenberg&rdquo;), you agree to comply with all the terms of the Full Project
+Gutenberg-tm License (available with this file or online at
+http://gutenberg.org/license).
+
+
+Section 1.  General Terms of Use and Redistributing Project Gutenberg-tm
+electronic works
+
+1.A.  By reading or using any part of this Project Gutenberg-tm
+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-tm electronic works in your possession.
+If you paid a fee for obtaining a copy of or access to a Project
+Gutenberg-tm 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.  &ldquo;Project Gutenberg&rdquo; 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-tm 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-tm electronic works if you follow the terms of this agreement
+and help preserve free future access to Project Gutenberg-tm electronic
+works.  See paragraph 1.E below.
+
+1.C.  The Project Gutenberg Literary Archive Foundation (&ldquo;the Foundation&rdquo;
+ or PGLAF), owns a compilation copyright in the collection of Project
+Gutenberg-tm electronic works.  Nearly all the individual works in the
+collection are in the public domain in the United States.  If an
+individual work is in the public domain 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-tm mission of promoting free access to electronic works by
+freely sharing Project Gutenberg-tm works in compliance with the terms of
+this agreement for keeping the Project Gutenberg-tm 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-tm 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-tm work.  The Foundation makes no representations concerning
+the copyright status of any work in any country outside 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-tm License must appear prominently
+whenever any copy of a Project Gutenberg-tm work (any work on which the
+phrase &ldquo;Project Gutenberg&rdquo; appears, or with which the phrase &ldquo;Project
+Gutenberg&rdquo; is associated) is accessed, displayed, performed, viewed,
+copied or distributed:
+
+This eBook is for the use of anyone anywhere 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
+
+1.E.2.  If an individual Project Gutenberg-tm electronic work is derived
+from the public domain (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 &ldquo;Project Gutenberg&rdquo; 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-tm trademark as set forth in paragraphs 1.E.8 or
+1.E.9.
+
+1.E.3.  If an individual Project Gutenberg-tm 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-tm 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-tm
+License terms from this work, or any files containing a part of this
+work or any other work associated with Project Gutenberg-tm.
+
+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-tm 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-tm work in a format other than
+&ldquo;Plain Vanilla ASCII&rdquo; or other format used in the official version
+posted on the official Project Gutenberg-tm web site (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 &ldquo;Plain Vanilla ASCII&rdquo; or other
+form.  Any alternate format must include the full Project Gutenberg-tm
+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-tm 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-tm electronic works provided
+that
+
+- You pay a royalty fee of 20% of the gross profits you derive from
+     the use of Project Gutenberg-tm works calculated using the method
+     you already use to calculate your applicable taxes.  The fee is
+     owed to the owner of the Project Gutenberg-tm 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, &ldquo;Information about donations to
+     the Project Gutenberg Literary Archive Foundation.&rdquo;
+
+- 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-tm
+     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-tm 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-tm works.
+
+1.E.9.  If you wish to charge a fee or distribute a Project Gutenberg-tm
+electronic work or group of works on different terms than are set
+forth in this agreement, you must obtain permission in writing from
+both the Project Gutenberg Literary Archive Foundation and Michael
+Hart, the owner of the Project Gutenberg-tm 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
+public domain works in creating the Project Gutenberg-tm
+collection.  Despite these efforts, Project Gutenberg-tm electronic
+works, and the medium on which they may be stored, may contain
+&ldquo;Defects,&rdquo; 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 &ldquo;Right
+of Replacement or Refund&rdquo; described in paragraph 1.F.3, the Project
+Gutenberg Literary Archive Foundation, the owner of the Project
+Gutenberg-tm trademark, and any other party distributing a Project
+Gutenberg-tm 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 F3.  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 MERCHANTIBILITY 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-tm electronic works in accordance
+with this agreement, and any volunteers associated with the production,
+promotion and distribution of Project Gutenberg-tm 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-tm
+work, (b) alteration, modification, or additions or deletions to any
+Project Gutenberg-tm work, and (c) any Defect you cause.
+
+
+Section  2.  Information about the Mission of Project Gutenberg-tm
+
+Project Gutenberg-tm 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, is critical to reaching Project Gutenberg-tm's
+goals and ensuring that the Project Gutenberg-tm 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-tm 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 web page at http://www.pglaf.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.  Its 501(c)(3) letter is posted at
+http://pglaf.org/fundraising.  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 principal office is located at 4557 Melan Dr. S.
+Fairbanks, AK, 99712., but its volunteers and employees are scattered
+throughout numerous locations.  Its business office is located at
+809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
+business@pglaf.org.  Email contact links and up to date contact
+information can be found at the Foundation's web site and official
+page at http://pglaf.org
+
+For additional contact information:
+     Dr. Gregory B. Newby
+     Chief Executive and Director
+     gbnewby@pglaf.org
+
+
+Section 4.  Information about Donations to the Project Gutenberg
+Literary Archive Foundation
+
+Project Gutenberg-tm depends upon and cannot survive without wide
+spread 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 http://pglaf.org
+
+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: http://pglaf.org/donate
+
+
+Section 5.  General Information About Project Gutenberg-tm electronic
+works.
+
+Professor Michael S. Hart is the originator of the Project Gutenberg-tm
+concept of a library of electronic works that could be freely shared
+with anyone.  For thirty years, he produced and distributed Project
+Gutenberg-tm eBooks with only a loose network of volunteer support.
+
+
+Project Gutenberg-tm eBooks are often created from several printed
+editions, all of which are confirmed as Public Domain 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 Web site which has the main PG search facility:
+
+     http://www.gutenberg.org
+
+This Web site includes information about Project Gutenberg-tm,
+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.
+
+
+</pre>
+  </body>
+</html>