Dealings with the Dead, Volume 2 (of 2) — A Closer Reading
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Clarke was very much of Sully's way of thinking. "And who," asks the reader, "was Colonel Barnabas Clarke?" He was a pensioner of the United States, and died a poor, though highly respected old man, in the town of Randolph, and Commonwealth of Massachusetts. For several years, he commanded the third Regiment of the first Brigade, and first Division of infantry; and he wore the largest cocked hat and the longest queue in the known world. He was a broad-shouldered, strong-hearted Revolutioner. Let me take the reader aside, for a brief space; and recite to him a pleasant anecdote of old Colonel Barnabas Clarke, which occurred, under my own observation, when John Brooks--whose patent of military nobilty bears date at Saratoga, but who was one of nature's noblemen from his cradle--was governor of Massachusetts.
There was a militia muster of the Norfolk troops, and they were reviewed by Governor Brooks. They were drawn up in line. The Governor, bare headed, with his suite, had moved slowly down, in front of the array, each regiment, as he passed, paying the customary salute.
The petty _chapeau militaire_ had then become almost universal, and, with, or without, its feather and gold edgings, was all over the field. Splendid epaulettes and eaglets glittered, on the shoulders of such, as were entitled to wear them. Prancing horses were caracoling and curvetting, in gaudy trappings. In the midst of this showy array, in front of his regiment, bolt upright, upon the back of his tall, chestnut horse, that, upon the strength of an extra allowance of oats, pawed the ground, and seemed to forget, that he was in the plough, the day before, sat an old man, of rugged features, and large proportions. Upon his head was that enormous cocked hat, of other days--upon his shoulders, scarcely distinguishable, was a small pair of tarnished epaulettes--the gray hairs at the extremity of his prodigious queue lay upon the crupper of his saddle--his ancient boots shaped to the leg, his long shanked spurs, his straight silver-hilted sword, and lion-headed pistols were of 1776. Such was the outer man of old Colonel Barnabas Clarke.
As the Governor advanced, upon the line of the third Regiment of the first Brigade, the fifes of that regiment commenced their shrill whistle, and the drums began to roll; and, at the appropriate moment, the veteran saluted his excellency, in that rather angular style, which was common, in the days of our military fathers.
At that moment, Governor Brooks checked his horse, and, replacing his hat upon his head, dismounted, and walked towards the Colonel, who, comprehending the intention, returned his sword to its scabbard, and came to the ground, with the alertness of a much younger man. They met midway, between the line and the reviewing cortege--in an instant, each grasped the other's hand, with the ardor of men, who are mutually endeared, by the recollection of partnership, in days of danger and daring--they had been fellow lodgers, within the intrenchments of Burgoyne, on the memorable night of October 7, 1777. After a few words of mutual respect and affection, they parted--the review went forward--the fifers and drummers outdid themselves--the beholders sent forth an irrepressible shout--and when old Colonel Barnabas got up once again, upon his chestnut horse, I thought he looked considerably more like old Frederick, hat, queue, and all, than he did, before he got down. He looked as proud as Tamerlane, after he had caged the Sultan, Bajazet--yet I saw him dash a tear from his eye, with the sleeve of his coat--I found one in my own. How frail we are!--there is one there now!
While contemplating the remarkable resurrection that has occurred, within a few years, of old chairs and tables, porcelain and candlesticks, I confidently look forward to the resurrection of cocked hats. They were really very becoming. I speak not of those vasty beavers, manufactured, of yore, by that most accomplished, gentlemanly, and facetious of all hatters, Mr. Nathaniel Balch, No. 72 old Cornhill; but such as he made, for his excellent friend, and boon companion, Jeremiah Allen, Esquire, high Sheriff of Suffolk. When trimmed with gold lace, and adorned with the official cockade, it was a very becoming affair.
The narrator, styling himself "A Sexton of the Old School," opens this volume with a precise inventory of Boston's vanished aristocracy: cocked hats of "enormous proportions," queues to the middle, scarlet broadcloth cloaks, and silver buckles. This is not a dry catalog but a personal recollection, anchored in the physical relic of a hat pierced by a musket ball at White Plains. The sexton's voice is at once antiquarian and conversational, prone to asides and anecdotes that pull the reader aside for a "pleasant anecdote" about Colonel Barnabas Clarke. The prose moves between meticulous description and a wry, knowing tone, as when he notes that the bullet hole in the cocked hat left the wearer's head "at a very safe distance."
Cocked Hats and Queues: The Voice of the Old Sexton
The narrative voice is that of a man who has handled the dead and their effects, and it shows in his eye for material detail. He lingers on the dimensions of a military cocked hat—"terrible"—and compares it to modern bearskin caps, which are "eminently calculated to put the enemy to flight." The humor is dry and self-aware: the hat's bullet hole prompts a reflection on the head's safe distance, not on the battle itself. This voice shifts easily from the sartorial to the biographical, as when he introduces Colonel Barnabas Clarke, a "broad-shouldered, strong-hearted Revolutioner" who wore the largest cocked hat and longest queue "in the known world." The sexton's language is colloquial yet formal, peppered with archaisms like "cotemporary" and references to Louis Quatorze. He addresses the reader directly, promising to "recite" an anecdote, and the pace slows to accommodate these digressions.
Peter Faneuil's Slaves: A Shift from Relic to Record
Midway through the excerpt, the tone and subject shift abruptly. The sexton turns from cocked hats to the slave trade in colonial Boston, citing Peter Faneuil's letters. The language becomes documentary: he quotes a 1738 invoice for fish and alewives, exchanged for "a strait negro lad" aged 12 to 15, who has had smallpox and is of "tractable disposition." The sexton interjects that he has "no doubt" Peter was a "kind, considerate master," but the reader is left to weigh this against the cold commercial language of the letter. The pace changes from leisurely anecdote to a more compressed, evidence-driven style, with dates, sums, and names. The sexton then pivots again to a love affair involving the Jekyll family, reproducing Peter's letters in full. This structural shift—from personal memory to archival reproduction—marks a change in narrative strategy, as the sexton lets the documents speak for themselves.
Slavery in the Province: Moral Weight Beneath the Anecdote
The sexton's treatment of slavery is revealing of his era and his method. He notes that "the clergy were no exception" to the North's somnolence on the subject, and he cites Douglass's Summary for the 1735 population figures: 35,427 whites and 2,600 negroes. The tone is matter-of-fact, but the inclusion of these statistics, alongside the Faneuil letters, gives the narrative a moral weight that the earlier cocked-hat passages lack. The sexton does not editorialize heavily; he presents the evidence and moves on. Yet his choice to include a slave sale from Parson Moorhead's estate—"at his late residence, near Liberty Tree"—creates an ironic juxtaposition. The reader is left to connect the liberty tree with the slave sold beneath it. This section shows the sexton's voice at its most restrained, letting the documents carry the implication.
Readers should attend to the shifts in register between the sexton's personal reminiscences and his archival interludes. The cocked hat and the slave invoice are both relics, but the narrative treats them differently: one with affectionate humor, the other with documentary flatness. This volume rewards attention to how the sexton's voice modulates between the antiquarian and the moralist, and how the pace of the prose—now leisurely, now compressed—shapes the reader's engagement with Boston's buried past.
There’s a particular melancholy in the sexton’s pages, how he lingers over forgotten headstones and the weight of old silences. It reminded me of how Fuseli’s own restless fantasies sometimes feel like conversations with the dead. I found myself thinking of that while rereading The Life and Writings of Henry Fuseli, Volume 3 (of 3) — Background and Themes, where the same shadows seem to flicker, just differently dressed.
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