Jump to Content

Add to My Citations To Pamela A. Moffett
9 and 11 March 1859 • New Orleans, La.
(MS: CU-MARK, UCCL 00019)
Click to add citation to My Citations.

. . . .

[beginning ]of Lent, and all good Catholics eat and drink freely of what they please, and, in fact, do what they please, in order that they may be the better able to keep sober and quiet during the coming fast. It has been said that a Scotchman has not seen the world until he has seen Edinburgh; and I think that I may say that an American has not seen the United States until he has seen Mardi-Gras in New Orleans.

I posted off up town yesterday morning as soon as the boat landed, in blissful ignorance of the great day.1 At the corner of Good-Children and Tchoupitoulas streets, I beheld an apparition!—and my first impulse was to dodge behind a lamp-post. It was a woman—a hay-stack of curtain calico, ten feet high—sweeping majestically down the middle of the street (for what pavement in the world could accommodate hoops of such vast proportions?) Next I saw a girls of eighteen, mounted on a fine horse, and dressed as a Spanish Cavalier, with long rapier, flowing curls, blue satin doublet and half-breeches, trimmed with broad white lace—(the balance of her dainty legs cased in flesh-colored silk stockings)—white kid gloves—and a nodding crimson feather in the coquettishest little cap in the world. She [ rep removed ]said cap and bowed low to me, and nothing [ loth loath], I bowed in return—but I could n’t help murmuring, “By the beard of the Prophet, Miss, but you’ve mistaken your man this time—for I never saw your silk mask [before, ]nor the balance of your costume, either, for that matter.” And then I saw a hundred men, women and children in fine, fancy, splendid, ugly, coarse, ridiculous, grotesque, laughable costumes, and the truth flashed upon me—“This is Mardi-Gras!” It was Mardi-gras—and that young lady had a perfect right to bow to, shake hands with, or speak to, me, or any body else she pleased. The streets were soon full of “Mardi-gras,” representing giants, Indians, nigger minstrels, monks, priests, [clowns,— ] every birds, beasts,—everything, in fact, that one could imagine. The “free-and-easy” women turned out en masse—and their costumes and actions were very trying to modest eyes. The finest sight I saw during the day was a band of twenty [stalwart d ]men, [ r splendidly ]arrayed as Comanche Indians, flying and yelling down the street on horses as finely decorated as themselves. It was worth going a long distance to see the performances of the day—but bless me! how insignificant they seemed in comparison with those of the night, when the grand torchlight procession of the “Mystic Krewe of Comus” [ were ] was added. [ I At ]half past seven in the evening I went up to St. Charles street, and found both its pavements, for many squares, packed and jammed with thousands of men and women, waiting to see the Mystic Krewe. I managed to get an eligible place near the middle of the street opposite the St. Charles Hotel, where I waited—yes, I waited—standing on both feet as long as I could—then on one—then on tother—and was just preparing to stand on my head awhile, when a shout of “Here they come!” kept me still in the caretpropercaret position of a box of glassware. But it was a false alarm—and after a while we had another false alarm—and then another—each repetition stirring up the impatience and anxiety of the crowd & setting it to heaving and surging at a fearful rate. At last the distant tinkling of lively music was heard—and then the tag-end of a great huzza that had battered nearly all the life out of itself by butting against many squares of hard brick houses before it reached us—and again the tinkling music, and again the faint huzza—and five thousand people near me were [tip-toeing ]& bobbing & peeping down the long street, & wondering why the devil it caretdidn’tcaret come along faster—if it ever expected to [ come get ]in sight. Impatience was growing, [now, ]for ever so [far ]away down the street we could see a flare of light [ seeming some a little sun spreading ]away from a line of dancing colored spots. They approached faster, then, & pretty soon, we took up the fainting huzza, & breathed new life into it. And here was the procession at last. The torches were of all colors, but their shapes represented the spots on a pack of cards—an endless line of hearts, and clubs, &c., The procession was led by a mounted Knight of the Crusader in blazing gilt armor from head to foot, and I think one might never tire of looking at the splendid picture. Then followed tall, grotesque maskers representing some ancient game—then an odd figure covered with checks, with a huge chess board & chessmen for a hat—then another quaint fellow gleaming in backgammon [stripes], with two great dice for a hat—then the kings of each suit of cards dressed caretincaret royal regalia of ermine, satin & gold—then [queer n ]figures representing various other games,—then the Queen of the Fairies, with an winged troop of beauties, in airy costumes at her heels—then the King & Queen of the Genii, I suppose (eight or ten feet high,) with vast rolls of flaxen curls, bowing majestically to the crowd—followed by a couple of infinitesimal dwarfs,—and again by other genii, in costumes grotesque, hideous & beautiful in turn—then figures whose bodies were vast drums, trumpets, clarinets, fiddles, &c.,—followed by others whose bodies were pitchers, punch-bowls, goblets, &c., terminated by two tremendous & very unsteady black wine bottles—then gigantic chickens, turkeys, bears, & other beasts & birds—then a big Christmas tree, [followed ]by Santa Claus, with fur cap, short pipe, &c., and surrounded by a great basket filled with toys—and then—well, I don’t remember half. There were transparencies, marking the divisions, with a band of music to each. Under “May-day” was a beautifully decorated [ m May-tree ]& a [ m May-pole; ]—after “Twelfth-Night” followed [ K a ]troupe of the most outrageously hideous figures, half-beast,-half-human, that one could imagine;—Santa Claus & his crew followed “Christmas”—the games, &c., followed “Comus at his old English tricks, [ & again],” and if there were any other transparencies, I have forgotten them. The [ whole long ]procession blazed with bran-new silk and satin, and the whole thing seemed to have been gotten up without any regard to cost.

Certainly New Orleans seldom does things by halves.


New Orleans, Friday 11th.

I saw our little Princesses, Countesses, or whatever they are—the Piccolominis—in St. Charles [street. caretyesterday.caret ]They came down from Memphis in the cars, I believe. Their first concert takes place to-night, and we shall leave this afternoon. So we shall not hear the young lady sing.2 We had a souvenir of the warbler written on our sla old slate, but some sacrilegious scoundrel rubbed it out. It was “Je suis fachèr qu’il faut que nous allons de ce batteau à la Memphis.” To which (“I am sorry that we must leave the boat at Memphis.”) To which I replied en mauvais française, “Nous seront nous aussi très fachèr.” (We shall be very [sorry], also.) Ben3 was going to “head” it “The Lament of the Irish Emigrant,”4 & sell the old slate to Barnum for five hundred dollars. Ben said he had a very interesting conversation with the “old dowager,” Madame Pic. He remarked—“I imagine, Madame, that if it would only drizzle a little more, the weather would soon be in splendid condition for young ducks!” And she replied—“Ah, mio, mio,—une petè—I not can [ ondersthand ]not!” “Yes’m, it’s a great pity you can’t ondersthand not, for it has cost you the loss of a very sage remark.” And she followed with a tremendous gush of the musical language. Then Benjamin—“Yes, madame, you’re very right—very right indeed. I [acknowlege ]the justice of your remarks, but the devil of it is, I’m a little in the dark as to what you’ve been saying all the time!”

In eight days from this, I shall be in Saint Louis, but I am afraid if I am not careful I’ll beat this letter there.

My love to all,

Your brother

Sam

Explanatory Notes | Textual Commentary

Add to My Citations

Click to add citation to My Citations.
1 The Aleck Scott left St. Louis on 1 March and arrived in New Orleans on Mardi Gras, 8 March.

Add to My Citations

Click to add citation to My Citations.
2 Since her first appearance in Florence in 1852, at the age of seventeen, Maria Piccolomini had enjoyed great popularity in Italy, the British Isles, and elsewhere in Europe. Because her family was one of the oldest in Tuscany, she claimed “the honorary title of Princess” on “the Italian principle of children and grand-children participating in the family honors” (“Piccolomini,” New Orleans True Delta, 30 Oct 58, supplement, 1). The singer and her company had performed in St. Louis on 28 February and 1 March, then immediately left for Memphis at 11:00 p.m. on the Aleck Scott, en route to New Orleans. The travel party included Piccolomini’s mother, sister, and other family members. Her Memphis audience had been typical of American audiences, which found her vivacious personality more captivating than her voice. The Memphis Appeal called her “not a musician of incredible skill, but a girl of inexpressible fascinations that fills the mind” and praised her “merry, gleeful, cheery way” (“The Concert Last Night,” 5 Mar 59, 3). Piccolomini performed in New Orleans for ten days beginning on 11 March, the day the Aleck Scott left for St. Louis at 5:00 p.m.

Add to My Citations

Click to add citation to My Citations.
3 Probably the engineer of the Aleck Scott. In chapter 13 of Life on the Mississippi Clemens recalled how, in a moment of panic at the wheel, he called to the engineer, “Oh, Ben, if you love me, back her! Quick, Ben! Oh, back the immortal soul out of her!”

Add to My Citations

Click to add citation to My Citations.
4 A popular sentimental song expressing a lover’s bereavement, by Lady Dufferin (Helen Selina Sheridan).



glyphglyphCopy-text:glyphMS, Moffett Collection, Mark Twain Papers, The Bancroft Library, University of California, Berkeley (CU-MARK).

glyphglyphPrevious publication:glyph L1, 87–91; Fender, 738–39 (excerpt).

glyphglyphProvenance:glyphsee Moffett Collection, p. 462.

glyphglyphEmendations and textual notes:glyph


beginning • [previous pages missing] ginning

rep removed • repmoved [‘m’ over partly formed ‘p’]

loth loath • lothath [‘at’ over ‘th’]

before, [dash inserted over comma]

clowns,— • [comma possibly inserted]

stalwart d[‘t’ over ‘d’]

r splendidly • [‘s’ over ‘r’]

were was • wereas [‘as’ over ‘ere’]

I At • [‘A’ over ‘I’]

tip-toeing • tip-ǀtoeing

come get • [‘get’ over ‘come’]

now, [dash inserted over comma]

far • far [‘f’ canceled inadvertently]

seeming some a little sun spreading • s[eem]ing s[white diamondwhite diamondwhite diamond] [white diamond] little ǀsun spreading [‘spr’ over possible ‘sun’; other text canceled heavily]

stripes • [‘r’ and ‘i’ written as one character]

queer n[‘r’ over ‘n’]

followed • foll-ǀlowed [hyphen over ‘l’]

m May-tree • [‘M’ over ‘m’]

m May-pole • m May-pole [‘M’ over ‘m’]

K a • [‘a’ over ‘K’]

& again • [‘a’ over ‘&’]

whole long • [‘long’ over ‘whole’]

street. caretyesterday.caret • street. caretyesterday.caret [deletion implied]

sorry • salorry [‘or’ over ‘al’]

ondersthand • on‐ǀdersthand

acknowlege • [sic]