The owners calculated it would take twenty-five years to cull out all the large timber and by the time that job was finished there would be a second growth ready to cut. With this in view, hardwood and rich walnut were cut and used with utter extravagance and disregard for their great worth; full-sized logs of the finest grade were used for building barns, planks of black walnut found their way into porch floors, walnut posts were used freely for fencing by the mountaineer himself.

So profuse was the supply up until a quarter century ago that no thought was given to its possible disappearance through wasteful methods of lumbering, frequent forest fires, and the woodsman's utter carelessness and disregard for the future.

A timber cruiser in Knott County, Kentucky, once came upon an old woman chopping firewood beside the door of her one-room cabin. Upon examination he found it to be a fine species of walnut. After talking with her he learned that she owned hundreds of acres of timber, much of which was covered with walnut such as she was ruthlessly burning in the fireplace. He spent days going over the acreage and offered the old woman a fabulous price for the larger timber, at the same time assuring her, through written agreement, protection of all her rights. But the old creature, who lived alone, dismissed the timber cruiser with a wave of her bony hand. "Begone!" she chirped, "I don't want to be scrouged by your crew comin' in on my land choppin' down trees and settin' up them racket-makin' contrapshuns under my very nose. No how such as that skeers off the birds in the forest." Though the cruiser agreed that his company would even be willing to keep a distance of three miles in all directions from her little cabin, the old woman still refused, and when he tried again in honeyed tones to persuade her she up with the ax and chased him off the place.

The mountain man, however, often seized the opportunity to dispose of his timber and set to work with a vim to get it to the nearest market, though such was a mighty task. Having cut down the larger trees, he rolled the logs down the mountain side toward the watercourse. Usually the creeks were much too shallow to carry rafts of logs so he constructed a splash dam at a suitable point between the high banks of the stream. A splash dam consisted of two square cribs of logs filled with great stones. Against these two crude piers he built a dam in the middle of which he placed an enormous gate. He remembered how he had made rabbit traps when he was a boy. So now, on a bigger scale, he made a figure-four trap-trigger for his splash dam. On one side, the gate which he built in the middle, pushed against two projecting logs in the dam. A long slender pole like a telegraph pole held the gate in place.

This is the trigger pole. Thus dammed, the water soon formed a deep lake into which strong-armed men threw the logs.

Gate and trigger are in readiness. The mountaineer has only to wait for a tide, which is often not long in coming. Even overnight, even in a few short hours, a stream has been known to swell from sudden rains or snow, bringing the water with a rush down steep mountain sides and carrying with it the logs that were left strewn on the slopes or near the bank.

Men work with feverish haste to roll the logs into the stream. The whole is swept into the dam, the trigger is released at the right moment and the rush of water with its freight of logs sweeps through the open gate with a mighty roar, carrying its cargo for miles on down to the river.

Zealous workers have been known to splash out in this fashion as many as thirteen thousand logs in one season.

Timber so floated down the Big Sandy River made at its mouth the largest round timber market in the world and brought untold fortunes to capitalists who ruthlessly cut down the virgin forests along its banks.

Here at the waterfront taverns a motley crowd of loggers and raftsmen, woodsmen and timbermen, were wont to gather for nights of revelry. The old taverns rang with as rollicking songs as ever enlivened a western bar in gold-rush days. Here too woodsman and logger rubbed shoulders betimes with Devil Anse Hatfield and Randall McCoy, for it was to the mouth of Big Sandy, the village of Catlettsburg, the county seat of Boyd, that the clansmen repaired to reinforce their ammunition for carrying on their bloody feud.

And here, in the spring of the year, the calliope could be heard far down the Ohio as the showboat steamed into view. Shouts of glee went up from the throats of youngsters along the way as they rushed excitedly for the river-bank to watch the approach of the flag-decked boat. And when the _Cotton Blossom_ had docked and deckhands had made her fast to her moorings with rope and chain, a gayly uniformed band--led by a drum major in high-plumed hat and gold-braided coat--with sounding horns and quickened drumbeat walked the gangplank, leaped nimbly to shore, and paraded the narrow winding village street.

Old and young wept over the death of Uncle Tom and hissed viciously the slave-whipping Legree. Woodsman or logger, who had imbibed too freely at the waterfront taverns, sometimes arose and cursed angrily the black-mustachioed villain. Whereupon the town marshal patted the disturber on the shoulder (the officer always had passes to the showboat for himself and family and friends), wheedled the giant mountaineer into silence, and left him dozing in his seat.

When the curtain fell on the last act, woodsmen and raftsmen and their newfound friends in the village returned to the riverfront tavern to make a night of it.

By sunup the crew would be on its way back up to the head of Big Sandy to make ready for another timber run.

WOMAN'S WORK

The woman of the mountains has always been as resourceful in her way as the man. She made the sweetening for the family's use from a sugar tree and as often used sorghum from cane for the same purposes, even pouring the thick molasses into coffee if they were fortunate enough to have coffee. She made her own dyes from barks and herbs. And though she may have had a dozen children of her own she was ready and eager to help a neighbor in time of sickness. Doctors were scarce, so she of necessity turned midwife to help another through childbirth. She shared the tasks of her husband in the field and home. She was as busy at butchering time as the menfolk. Once the hog was killed and cleaned, she helped chop the meat into sausage and helped to case it. She boiled the blood for pudding and looked to the seasoning, with sage and pepper, of the head cheese and liverwurst. Hers was the task of rendering the lard in the great iron kettle near the dooryard. And once the meat was cut into slabs she helped salt it down in the meat log. But only the man felt capable of properly preparing and smoking the ham for the family's use.

She frugally set aside the cracklins, after rendering the lard, for use in soap-making at the hopper.

At sorghum-making time mother and daughter worked as busily as father and son. The men cut the cane and fed it to the mill, while the womenfolk took turns tending the pans in which the syrup boiled, skimming off the greenish foam and scum that gathered on the top. They urged the young boys, who hung around on such occasions, to bring on more wood to keep the fire going under the pans. The owner of the portable sorghum mill sometimes took his pay for its use in sorghum, if there was no money to be had. He was paid too for the use of his team in hauling the mill to the cane patch of the neighbor who had engaged it, and he himself sometimes tarried to help set it up. A small boy was sometimes pressed into service to urge the patient mule on its monotonous course around and around pulling the beam that turned the mill.

Sorghum-making had its lighter side. The young folks especially found fun in seeing a guileless fellow step into the skimming hole concealed by cane stalks. The sport was complete when the bewildered fellow struggled to free himself from the sticky mess. But the woman was quick to help him out of his plight by providing a change of raiment and soap and water and clean towels, "yonder in the kitchen-house." She knew what to expect at sorghum-making time.

Each season of the year brought its communal activity: corn shucking in the fall, that was ever followed by a frolic. Bean stringing when the womenfolk pitched in to help each other out stringing beans with a long darning needle on long strands of thread. These were hung up to dry and supplied a tasty dish on cold winter days. There was also apple-butter-making in the fall when long hours were spent in peeling and preparing choicest apples which were boiled in the great copper kettle and richly seasoned with sugar and spice. Apple-butter-making was an all-day job in the boiling alone but the rich and tasty product is considered well worth the effort and any mountain woman who cannot display shelves laden with jars of apple-butter would be considered a laggard indeed.

But the mountain woman's greatest pride and joy was handiwork--quiltmaking, crocheting. Perhaps it is because these crafts have always gone hand-in-hand with courtship and marriage.

At the first call of the robin in the spring, Aunt Emmie on Honey Camp Run, in clean starched apron and calico frock, dragged her rocker to the front stoop of her little house and there she sat for hours rocking contentedly while her nimble fingers moved swiftly with crochet needle and thread. "Aunt Emmie's crocheting lace for Lulie Bell's wedding garments." Folks knew the signs. Hadn't Lulie Bell ridden muleback from Old Nell Knob just as soon as winter broke to take the day with the old woman. "Make mine prettier than Dessie's and Flossie's," she had said.

Or, "I want the seashell pattern for my pillowcases." Or, "I want you to crochet me a pretty chair back." "I want a lamberkin all scalloped deep"--another bride-to-be measured a half arm's length. "I want my edging for the gown and petticoat to match." Passersby overheard the talk of the young folk. "Wouldn't you favor the fan pattern?" Aunt Emmie offered a suggestion now and then while the shiny needle darted in and out of scallop and loop. Sometimes she dropped a word of advice to the young, how to live a long and happy married life, how and when to plant, what to take for this ailment and that. There were things that brought bad luck, she warned, and some that brought good.

"If a bride plants cucumber seed the first day of May when the dew is still on the ground, the vines will grow hardy and bear lots of cucumbers and she will bring forth many babes, too," her words fell on willing ears of the young bride-to-be. "If you sleep under a new quilt that no one has ever slept under, what you dream that night will come true." Many a young miss declared she had experienced the proof of the saying. There was something else. "Mind, don't ever sew a ripped seam or patch a garment that's on your back. There will be lies told on you sure as you do." That could be proved in most any community in the Blue Ridge.

Yards upon yards of lace Aunt Emmie crocheted, the Clover Leaf pattern, the Sea Shell, Acorn, the Rose, and if a bride-to-be had no silver, the lacemaker was content to take in exchange a pat of butter, eggs, or well-cured ham. Her delight was in the work itself.

The thrifty woman of the mountains takes great pride in her quilts; not only does she strive to excel her neighbor in the variety of patterns but in the number as well. On a bright summer day she brings them out of cupboard and presses, and hangs them on the picket fence to sun. She is pleased when a passerby stops to admire, and especially so if it be a young miss. The older woman recognizes the motive behind the question, "What is this pattern?" "Is this easy to piece?" The older woman knows the young miss has marrying in her head and goes to great lengths to explain. "Now this is Compass and Nine Patch and it's easiest of any to put together. This is Grandmother's Flower Garden--it's a lot of little bitsy pieces, you see, and a heap of different colors and it's most powerful tejous to put together. This is Double Wedding Ring, this Irish Chain"--she names one after another--"this is Neck Tie, and this in the fair blue and white is Dove in the Window."

The quiltmaker is even more pleased when the young miss comes to take the day and she has the proud privilege of starting John's or Tom's future wife on her very first quilt. It is an occasion of merriment when the quilt is finally finished and taken out of the frames after many a pleasant quilting bee. Then, at the urging of one of the older women, two girls shake a cat on the new quilt. The one toward whom the cat jumps will be married first, they believe. Some brides believe too that by going to the oldest woman in the community to set up the quilt for their marriage bed they will be insured long life and joy. There are lovelorn maidens so eager to peer into the future they will even help a neighbor on wash day. Two girls will wring a dripping quilt by twisting it in rope fashion. The one toward whom the end curls up will be first to rock the cradle.

4. TRADITION

PHILOMEL WHIFFET'S SINGING SCHOOL

Philomel Whiffet was dim of eye and sparse of beard. A little white fringe framed his wrinkled face and numbered indeed were the hairs of his foretop. Trudging up the snow-covered mountain, he caught sight of the glowing stove through the window of Bethel church house whither he was bound this winter night to conduct singing school. He chuckled to himself, drawing the knitted muffler closer about his thin throat and making fast the earflaps of his coonskin cap. "Yes, they're getting the place het up before the womenfolk come. Mathias or Jonathan, one or the other." The singing master had come to know the signs by the behavior of the old heating stove--who rivaled, who courted, who might be on the outs. "It's Jonathan that's making the fire tonight. I caught the shadow of him against the wall when he threw in the stove wood. Jonathan's all of a head taller than Mathias. Trying to get in favor with Drusilla Osborn. It's a plum shame the way that girl taynts him and Mathias. At meeting first with one, then the other. She's got the two young fellows as mad as hornets at each other nigh half the time. No telling, Dru's liable to shun them both when it comes to choosing a mate. Women are strange creatures." The singing master talked to himself as he plodded on.

Many the year Philomel Whiffet traveled that selfsame road with the selfsame aim, for the church house was the only place on Pigeon Creek where folks could gather. The seat of learning too it was there in the Tennessee mountains, so that old Whiffet, having journeyed hither and yon to take up a subscription for singing school, must need get the consent of school trustees and elders in order to hold forth in Bethel church house. Honor-bound too, was he, to divide his fee of a dollar per scholar with his benefactors.

"We're giving you the chance, brother Whiffet, to earn a living," one of the elders murmured when the singing master that year shared with them his meager earnings. But when Philomel ventured to suggest it might liven the gathering somewhat if he brought along his dulcimer and strummed the tune while scholars sang, both elders and trustees stood aghast. Couldn't believe their ears. "Brother Whiffet!" gasped one of the elders, "so long as we're in our right mind no music box of any nature shall be brought into Bethel church house. We don't intend to contrary the good Lord in any such way."

That settled it.

The memory of that session brought a smile to the old man's face.

"Elders and women have strange ways," he told himself as he walked on through the snow, eyes fixed on the beacon light of the old heating stove in the church house.

"Now I used to think that Mathias had got the best of Jonathan," his thoughts returned to the present, "but there's no knowing if Drusilla is aiming to set down her name Mistress Oneby or Mistress Witchcott. Women are powerful tetcheous. Keep a man uncertain and troubled in his mind with their everlasting whims."

No one knew that any better than did Philomel Whiffet. It made him patient with the young fellows in their trials, for he had had a mighty hard row to hoe in his own courting days. Hadn't Ambrose Creech and Herb Masters aggravated him within an inch of his life before he finally persuaded Clarissa that neither of the two was worth his salt, that only he, Philomel Whiffet, the singing master, could bring her happiness in wedded life. That had been long years ago.

Philomel had been a widower for ten years past and never once had he cast eyes on another woman; that is to say, with the idea of marriage.

"There's no need for a man to put his mind on such as that without he can better himself, and I never calculate to see Clarissa's equal, let alone her betters. Nohow, singing school is good a-plenty to keep a body company." That was Philomel Whiffet's notion and he stuck to it. It was as though she, Clarissa, still bustled about the Whiffet cabin, for Philomel, though he lived alone, kept the place as she had--spic and span just as Clarissa had left it. There on the shelf were the cedar piggins, scoured clean with white sand from the creek, one for spice, one for rendering, one for sweeting. And there on the wall hung the salt gourd. "It's convenient to the woman for cooking," he had said when first they started housekeeping. How happy he had been in those days, looking after Clarissa and the little Whiffets as they came along. Not until they were all grown and married off and gone, and he and Clarissa were alone once more, did he really come to realize how very happy their household had been. He liked to look back on those times. "It's singing-school night, Pa"--Clarissa had taken to calling him Pa; got it from the children. "You best strike the tuning fork and sing a tune or two before you start. Gets your throat limbered up and going smooth."

Philomel had come to wait for her urging. Then he would fumble in his waistcoat pocket for the tuning fork and tapping it to chair rim or bootheel, he'd hold it to his ear, pitch the tune, and sing a verse or two of this ballad and of that. Then when he started forth on a winter's night, "Mind your wristban's!" his wife would say, "and your spectacles!

Don't forget your spectacles! Your sight's not sharp as it once was. And your tuning fork, Pa. Don't forget to put it in your pocket." It pleased the old singing master in those days to have Clarissa feel that he was dependent upon her. And now that she was gone, for ten long years, those familiar words running through old Philomel Whiffet's thoughts were all he had left to remind him of his needs when he started out to singing school.

Slowly he plodded on through the snow, his eyes raised now and again to the light of the heating stove in the church house.

Arrived at the door he stomped the snow from his well-greased boots and went in. Untying the flaps of the coonskin cap he moved across the floor. "Good evening, boys," he greeted cheerily, unwinding now the muffler from his throat.

"Good evening, sir!" the early birds, Jonathan and Ephraim Scaggs, answered together. It wasn't Mathias Oneby, after all, whose shadow he had seen against the wall. At once the singing master knew why Ephraim Scaggs was there. His sister, Tizzie Scaggs, was head-over-heels in love with Jonathan Witchcott. She was trying every scheme to get him away from Drusilla Osborn. Yes, Tizzie had sent her brother Ephraim along with Jonathan to make the fire so he could drop in a few words about her; how apt she, Tizzie, was at many tasks, what a fine wife she'd make for some worthy fellow. Philomel Whiffet knew the way of young folks.

And Drusilla knew the ways of Tizzie. She was really wary of her and watchful, though Dru would never own it to Jonathan Witchcott.

Even though the snow was nearly knee-deep it didn't keep folks from singing school. Already they were crowding in. So by the time old Whiffet was ready to begin every bench was filled. Young men and old in homespun and high boots, mothers and young girls in shawls and fascinators, talking and laughing at a lively clip as they took their places: sopranos in the front benches opposite the bass singers; behind them, altos and tenors.

"I'm sorry to see that some of our high singers are not here this evening." The old singing master from his place behind the stand surveyed the gathering, squinting uncertainly by the light of the oil lamp. High on the wall it hung without chimney, its battered tin reflector dimmed by soot of many nights' accumulation. He picked up the notebook from the little stand which served as pulpit for the preachers on Sundays, and casually remarked, "We kinda look to the high singers to help us through, to pitch the tune and carry it. Too bad"--he squinted again toward the gathering--"that Drusilla Osborn is not here. Dru is a extra fine singer. A fine note-singer is Dru. Takes after the Osborns.

Any of you heard if Osborns' folks have got sickness?"

A titter passed over the singing school and just then Tizzie Scaggs, leering at Dru, piped out, "Why, yonder's Dru Osborn in the back seat!"

The tittering raised to a snicker and Philomel Whiffet, too flabbergasted to call out Drusilla's name and send her to her own seat with the sopranos where she belonged, turned quickly his back to the school and fumbled in his pocket. He brought forth a piece of charred wood, for chalk was a rarity on Pigeon Creek, and began to set down on the rough log wall a measure of music. In shaped notes, for round notes had not yet made their way into Philomel Whiffet's singing school.

Painstakingly he set down the symbols, some like little triangles, others square, until he had completed a staff. Nor did he face the school again until all the tittering had subsided. Then with the same charred stick he drew a mark on the floor and called for sopranos, alto, bass, and tenor to toe the mark.

Drusilla Osborn was first, then Lettie Burley, an alto, came next. Tom Jameson, the tenor, and Felix Rideout, who couldn't be beat singing bass, stood in a row careful-as-you-please to see that they kept a straight line, toes to the mark, shoulders back, chests expanded. They sang the scale through twice--forward and backward, bowed to the singing master, then went back to their seats. It was a never-changing form to which Philomel Whiffet clung as an example for the whole school to follow should they be called to toe the mark. A fine way to show all how a singer should rightly stand and rightly sing.

"Now, scholars," Whiffet brushed the black from his fingers, having replaced the charred stick in his pocket, "lend attention!" Taking the tuning fork from his waistcoat pocket, he looked thoughtfully at the school. "Being as this singing school is drawing to a close, seems to me we should review all we can this evening." He paused. "Now all that feel the urge can take occasion to clear their throats before we start in."