“La Belle Zoraïde.”
THE summer night was hot and still; not a ripple of air swept over the marais. Yonder, across Bayou St. John, lights twinkled here and there in the darkness, and in the dark sky above a few stars were blinking. A lugger that had come out of the lake was moving with slow, lazy motion down the bayou. A man in the boat was singing a song.
The notes of the song came faintly to the ears of old Manna Loulou, herself as black as the night, who had gone out upon the gallery to open the shutters wide.
Something in the refrain reminded the woman of an old, half-forgotten Creole romance, and she began to sing it low to herself while she threw the shutters open: —
Moperdi bonhair à moué;
Ziés à mouésemblé fontaine,
Dépi mo pa miré toué.”
And then this old song, a lover’s lament for the loss of his mistress, floating into her memory, brought with it the story she would tell to Madame, who lay in her sumptuous mahogany bed, waiting to be fanned and put to sleep to the sound of one of Manna Loulou’s stories. The old negress had already bathed her mistress’s pretty white feet and kissed them lovingly, one, then the other. She had brushed her mistress’s beautiful hair, that was as soft and shining as satin, and was the color of Madame’s wedding-ring. Now, when she re�ntered the room, she moved softly toward the bed, and seating herself there began gently to fan Madame Delisle.
Manna Loulou was not always ready with her story, for Madame would hear none but those which were true. But to-night the story was all there in Manna Loulou’s head — the story of la belle Zoraïde — and she told it to her mistress in the soft Creole patois, whose music and charm no English words can convey.
“La belle Zoraïde had eyes that were so dusky, so beautiful, that any man who gazed too long into their depths was sure to lose his head, and even his heart sometimes. Her soft, smooth skin was the color of café-au-lait. As for her elegant manners, her svelte and graceful figure, they were the envy of half the ladies who visited her mistress, Madame Delarivière.
“No wonder Zoraïde was as charming and as dainty as the finest lady of la rue Royale: from a toddling thing she had been brought up at her mistress’s side; her fingers had never done rougher work than sewing a fine muslin seam; and she even had her own little black servant to wait upon her. Madame, who was her godmother as well as her mistress, would often say to her: —
“ ‘Remember, Zoraïde, when you are ready to marry, it must be in a way to do honor to your bringing up. It will be at the Cathedral. Your wedding gown, your corbeille , all will be of the best; I shall see to that myself. You know, M’sieur Ambroise is ready whenever you say the word; and his master is willing to do as much for him as I shall do for you. It is a union that will please me in every way.’
M’sieur Ambroise was then the body servant of Doctor Langlé. La belle Zoraïde detested the little mulatto, with his shining whiskers like a white man’s, and his small eyes, that were cruel and false as a snake’s.
She would cast down her own mischievous eyes, and say: —
“ ‘Ah, nénaine, I am so happy, so contented here at your side just as I am. I don’t want to marry now; next year, perhaps, or the next.’ And Madame would smile indulgently and remind Zoraïde that a woman’s charms are not everlasting.
“But the truth of the matter was, Zoraïde had seen le beau Mézor dance the Bamboula in Congo Square. That was a sight to hold one rooted to the ground. Mézor was as straight as a cypress-tree and as proud looking as a king. His body, bare to the waist, was like a column of ebony and it glistened like oil.
“Poor Zoraïde’s heart grew sick in her bosom with love for le beau Mézor from the moment she saw the fierce gleam of his eye, lighted by the inspiring strains of the Bamboula , and beheld the stately movements of his splendid body swaying and quivering through the figures of the dance.
“But when she knew him later, and he came near her to speak with her, all the fierceness was gone out of his eyes, and she saw only kindness in them and heard only gentleness in his voice; for love had taken possession of him also, and Zoraïde was more distracted than ever. When Mézor was not dancing Bamboula in Congo Square, he was hoeing sugar-cane, barefooted and half naked, in his master’s field outside of the city. Doctor Langlé was his master as well as M’sieur Ambroise’s.
“One day, when Zoraïde kneeled before her mistress, drawing on Madame’s silken stockings, that were of the finest, she said:
“ ‘Nénaine, you have spoken to me often of marrying. Now, at last, I have chosen a husband, but it is not M’sieur Ambroise; it is le beau Mézor that I want and no other.’ And Zoraïde hid her face in her hands when she had said that, for she guessed, rightly enough, that her mistress would be very angry. And, indeed, Madame Delarivière was at first speechless with rage. When she finally spoke it was only to gasp out, exasperated: —
“ ‘That negro! that negro! Bon Dieu Seigneur , but this is too much!’
“ ‘Am I white, nénaine?’ pleaded Zoraïde.
“ ‘You white! Malheureuse ! You deserve to have the lash laid upon you like any other slave, you have proven yourself no better than the worst.’
“ ‘I am not white,’ persisted Zoraïde, respectfully and gently. ‘Doctor Langlé gives me his slave to marry, but he would not give me his son. Then, since I am not white, let me have from out of my own race the one whom my heart has chosen.’
“However, you may well believe that Madame would not hear to that. Zoraïde was forbidden to speak to Mézor, and Mézor was cautioned against seeing Zoraïde again. But you know how the negroes are, Ma’zélle Titite," added Manna Loulou, smiling a little sadly. "There is no mistress, no master, no king nor priest who can hinder them from loving when they will. And these two found ways and means.
“When months had passed by, Zoraïde, who had grown unlike herself, — sober and preoccupied, — said again to her mistress: —
“‘Nénaine, you would not let me have Mézor for my husband; but I have disobeyed you, I have sinned. Kill me if you wish, nénaine: forgive me if you will; but when I heard le beau Mézor say to me, “Zoraïde, mo l’aime toi ," I could have died, but I could not have helped loving him.’
“This time Madame Delarivière was so actually pained, so wounded at hearing Zoraïde’s confession, that there was no place left in her heart for anger. She could utter only confused reproaches. But she was a woman of action rather than of words, and she acted promptly. Her first step was to induce Doctor Langléto sell Mézor. Doctor Langlé, who was a widower, had long wanted to marry Madame Delarivière, and he would willingly have walked on all fours at noon through the Place d’Armes if she wanted him to. Naturally he lost no time in disposing of le beau Mézor, who was sold away into Georgia, or the Carolinas, or one of those distant countries far away, where he would no longer hear his Creole tongue spoken, nor dance Calinda, nor hold la belle Zoraïde in his arms.
“The poor thing was heartbroken when Mézor was sent away from her, but she took comfort and hope in the thought of her baby that she would soon be able to clasp to her breast.
“La belle Zoraïde’s sorrows had now begun in earnest. Not only sorrows but sufferings, and with the anguish of maternity came the shadow of death. But there is no agony that a mother will not forget when she holds her first-born to her heart, and presses her lips upon the baby flesh that is her own, yet far more precious than her own.
“So, instinctively, when Zoraïde came out of the awful shadow she gazed questioningly about her and felt with her trembling hands upon either side of her. ‘Où li, mo piti a moin? where is my little one?’ she asked imploringly. Madame who was there and the nurse who was there both told her in turn, ‘To piti � toi, li mouri’ (‘Your little one is dead’), which was a wicked falsehood that must have caused the angels in heaven to weep. For the baby was living and well and strong. It had at once been removed from its mother’s side, to be sent away to Madame’s plantation, far up the coast. Zoraïde could only moan in reply, ‘li mouri,’ and she turned her face to the wall.
“Madame had hoped, in thus depriving Zoraïde of her child, to have her young waiting-maid again at her side free, happy, and beautiful as of old. But there was a more powerful will than Madame’s at work — the will of the good God, who had already designed that Zoraïde should grieve with a sorrow that was never more to be lifted in this world. La belle Zoraïde was no more. In her stead was a sad-eyed woman who mourned night and day for her baby. ‘Li mouri, li mouri,’ she would sigh over and over again to those about her, and to herself when others grew weary of her complaint.
“Yet, in spite of all, M’sieur Ambroise was still in the notion to marry her. A sad wife or a merry one was all the same to him so long as that wife was Zoraïde. And she seemed to consent, or rather submit, to the approaching marriage as though nothing mattered any longer in this world.
“One day, a black servant entered a little noisily the room in which Zoraïde sat sewing. With a look of strange and vacuous happiness upon her face, Zoraïde arose hastily. ‘Hush, hush,’ she whispered, lifting a warning finger, ‘my little one is asleep; you must not awaken her.’
“Upon the bed was a senseless bundle of rags shaped like an infant in swaddling clothes. Over this dummy the woman had drawn the mosquito bar, and she was sitting contentedly beside it. In short, from that day Zoraïde was demented. Night nor day did she lose sight of the doll that lay in her bed or in her arms.
“And now was Madame stung with sorrow and remorse at seeing this terrible affliction that had befallen her dear Zoraïde. Consulting with Doctor Langlé, they decided to bring back to the mother the real baby of flesh and blood that was now toddling about, and kicking its heels in the dust yonder upon the plantation.
“It was Madame herself who led the pretty, tiny little “griffe” girl to her mother. Zoraïde was sitting upon a stone bench in the courtyard, listening to the soft splashing of the fountain, and watching the fitful shadows of the palm leaves upon the broad, white flagging.
“ ‘Here,’ said Madame, approaching, ‘here, my poor dear Zoraïde, is your own little child. Keep her; she is yours. No one will ever take her from you again.’
“Zoraïde looked with sullen suspicion upon her mistress and the child before her. Reaching out a hand she thrust the little one mistrustfully away from her. With the other hand she clasped the rag bundle fiercely to her breast; for she suspected a plot to deprive her of it.
“Nor could she ever be induced to let her own child approach her; and finally the little one was sent back to the plantation, where she was never to know the love of mother or father.
“And now this is the end of Zoraïde’s story. She was never known again as la belle Zoraïde, but ever after as Zoraïde la folle, whom no one ever wanted to marry — not even M’sieur Ambroise. She lived to be an old woman, whom some people pitied and others laughed at — always clasping her bundle of rags — her ‘piti.’
“Are you asleep, Ma’zélle Titite?"
“No, I am not asleep; I was thinking. Ah, the poor little one, Man Loulou, the poor little one! better had she died!"
But this is the way Madame Delisle and Manna Loulou really talked to each other: —
“Vou pré droumi , Ma’zélle Titite?"
“Non, pa pré droumi; mo yapré zongler. Ah, la pauv’ piti, Man Loulou. La pauv’ piti! Mieux li mouri!"
- Marais. Marsh.
- Bayou St. John. A bayou that led from New Orleans to Lake Pontchartrain.
Lisett.’ A Haitian Creole song:
Lisette, you left the plain;
I lost my happiness.
My eyes are like fountains
Ever since I can’t see you.
- La belle. The beautiful.
- Café-au-lait. Coffee with milk.
- Svelte. Slim or Slender.
- La rue Royale. Royal Street.
- Muslin. Light cotton cloth in plain weave.
- Corbeille. A sculptured basket of flowers or fruits used as an architectural ornament.
- Le beau. Beautiful when refering to a man.
- Bamboula. A dance accompanied by the drums.
- Bon Dieu Seigneur. Good Lord God.
- Malheureuse. Unfortunate.
- Mo l’aime toi. Ilove you.
- Place d’Armes. Parade ground. Now known as Jackson Square.
- Li mouri. Death.
- Griffe. A person who is 1⁄4 white and 3⁄4 black.
- La folle. The crazy.
- “Vou pré droumi? Are you asleep?
Chopin, Kate. “La Belle Zoraïde.” Bayou Folk. Boston: Houghton, Mifflin and Co., 1894. 280-290. Archive.org, 12 Sept. 2006. Web. 11 July 2013. <http:// archive.org/ details/ bayoufolk kate00 choprich>.
Text Prepared by
- James Banks
- Richard Greenwalt
- Kendrick James
- Paul Harris
- Bruce R. Magee
- Joshua Ross
- Marlon Seets