"Bobbie", a Story of the Confederacy — A Reader’s Guide
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This digital edition of "Bobbie", a Story of the Confederacy — A Reader’s Guide is described by source-level measurements including 24,236 words, 1 hr 46 min estimated reading time, and 12 detected text sections.
The text analysis averages about 24.8 words per sentence, while the detected sections provide another way to judge how the source is divided.
Project Gutenberg metadata also associates the work with “United States -- History -- Civil War, 1861-1865 -- Fiction,” connecting these edition facts with the source record’s subject description.
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- Text length15 pts
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s said he never knew which was worse, his name or his nose; but as he could get rid of neither, he accepted both in his own bright, happy way, and that ended the matter with him.
Peter Black had given him the name of Mars’ Bobbie to distinguish him from Mars’ Robert, his father, and it seemed to fit so exactly and suit so well his cheery, lovable little self as a baby, and later as a boy, and even on to young manhood, that no one thought of calling him anything else, or loved any other name half so well for him.
He was such a long time in coming, he used to say laughingly, that when he did get here his parents and friends and relatives, together with all the negroes on the plantation, thought he was going to be something extra; and then to be called “_Bobbie_,” and to have a broken nose, was so hurtful to his vanity, that, after thinking the matter over, he settled it by deciding that never again would he allow the subject to enter his mind, with the result that he became more lovable and loving than ever, and the secret of the charm all lay in the decision about his nose and name—he never thought of himself, but always of every one else first; and that is why he was so loved—he was so brave and true and honest and glad always.
“White Point,” where he was born, was the centre of the Rockland district; and while the neighborhood in that section of the country was tolerably well settled, still the “quality folks” were not very numerous, and in a radius of some twenty miles there were scarcely half a dozen families that kept up any kind of an establishment. Consequently, with the exception of “Grey Cliffs”—Dr. Trevillian’s place—“White Point” stood alone for a synonym of all that was grand and elegant, and as a gathering place for all the “bus heads” of the neighboring counties, as well as many cities.
Over two hundred slaves were owned by the master, and the stables were reckoned the finest in the State, for the stock included many animals of well-known and enviable records. There was a private race-track at one end of the plantation, and when at the spring and fall meets the neighbors from his own and adjoining counties met at Mars’ Robert Tayloe’s, there were times to be remembered, and good old times they were!
The gentlemen brought their own horses and dogs, and in the morning after breakfast it was no unusual sight to see fifty or more blooded animals brought out by the stable boys and walked up and down for the inspection and discussion of the gentlemen who had come down to see their favorites; and it was owing to one of these occasions that Bobbie made his nose immortal.
Though his eighth birthday had not yet been reached, he knew every detail of stable matters to what his mother thought an alarming degree, and the ambition of his life was to get astride a race horse. Never had he been allowed that privilege, though he had ridden bareback everything else on the place; and when he heard his father discussing, the night before the big race, the relative merits of his special pride—Dare Devil—as compared with Major Dalrymple’s Lady Virginia, he could stand it no longer, and he crept out to look for Peter Black.
Had Bobbie known what an _alter ego_ was, he would have said that Peter Black was it; for one was the substance, the other the shadow; and when Bobbie was wanted Peter Black was generally called.
By right of birth he really belonged to Sallie Tom, Bobbie’s mammy; but for all other intents and purposes he was owned body and soul by little Mars’ Bobbie, to whom Mars’ Robert had given him on the morning of the great day when the little master “done come.” The big master had made him creep softly in the missus’ beautiful room, and had shown him the new wonder, and told him that he was to belong to him hereafter, and that he must always be very careful, and never let any harm come to him; and Peter Black had promised solemnly, and walked out of the room as one would come out of a holy place, and no king on his coronation day was ever half so proud as he.
Kate Langley Bosher's 'Bobbie' opens with a distinctive narrative voice that immediately establishes the protagonist's character through his acceptance of his name and broken nose. The story moves between the domestic sphere of 'White Point' plantation and the broader context of the Civil War, using sensory details—like the 'fast-falling snow' and 'great wax candles'—to anchor scenes. The structure alternates between intimate family moments and larger community gatherings, creating a rhythm that mirrors the tension between private life and public conflict.
Narrative Voice and Character Introduction
The first chapter introduces Bobbie through a third-person narrator who adopts a conversational, almost folkloric tone. The narrator explains that Bobbie 'never thought of himself, but always of every one else first,' a trait that defines his actions throughout the excerpts. This direct characterization is reinforced by the use of dialect and nicknames, such as 'Mars’ Bobbie' given by Peter Black. The narrator's voice is warm and intimate, often addressing the reader with phrases like 'he used to say laughingly,' which creates a sense of shared memory. This voice persists even in later chapters, maintaining consistency across the story's shifts in setting.
Movement Between Domestic and Wartime Settings
The excerpts show a deliberate alternation between the plantation's daily life and the disruptions of war. Chapter I describes the pre-war grandeur of 'White Point,' with its race-track and stables, while Chapter VIII plunges into a hurried wedding during wartime. The contrast is stark: earlier, the narrative lingers on the 'spring and fall meets' and the 'good old times'; later, the same house becomes a site of frantic preparation, with Sallie Tom 'bossing the whole affair.' The war is not directly fought on the page but intrudes through details like the 'old trunks' brought from 'Grey Cliffs' at the war's start. This movement between peace and conflict shapes the story's emotional arc.
Recurring Imagery of Light and Heat
Bosher repeatedly uses light and fire to signal mood and significance. In Chapter I, the narrative is set in a warm, stable past. In Chapter VIII, the wedding preparations are lit by 'great wax candles' that 'flared up bravely,' casting 'a flood of warm, rich light.' This contrasts with the 'bitterly cold' snow outside, emphasizing the interior warmth of community and celebration. Earlier, Sallie Tom insists on 'as much fire as they wanted, if they friz for it the rest of their lives,' linking fire to generosity and defiance. The imagery of light—candles, fireplaces, and even the 'sputtering' candles—serves as a visual anchor for the story's emotional peaks.
Structure of Community and Hierarchy
The excerpts reveal a structured social world where enslaved characters like Peter Black and Sallie Tom play crucial roles. Peter Black gives Bobbie his nickname and later helps with wedding decorations; Sallie Tom orchestrates the wedding supper with authority. Their voices are rendered in dialect, and they are shown as active participants in the household's emotional life. The narrative moves between the 'quality folks' and the enslaved community, but always from the perspective of the Tayloe family. This hierarchy is part of the story's fabric, with the war threatening but not yet dismantling it. The wedding scene, with its 'white silken cushions' and 'beautiful old silver candlesticks,' underscores the preservation of tradition amid change.
Readers attentive to Bosher's use of sensory detail and scene transitions will find a story that balances personal resilience with the pressures of a society at war. The narrative's focus on Bobbie's character—his cheerfulness and selflessness—provides a consistent thread through the episodic structure. The excerpts suggest a work that values emotional warmth over historical analysis, making it a portrait of a specific moment in Southern life rather than a sweeping war epic.
Reading about Bosher’s quiet shifts between parlor and battlefield, I remembered my grandmother’s humming during air-raid drills—that strange domestic peace inside fear. I felt that same ache once in Samantha Among the Colored Folks: "My Ideas on the Race Problem" — A Reader’s Guide, where kindness sits uneasy beside unspoken wrongs. Both books hold that hush before history speaks too loudly.
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