If you heard my story word for word

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MARK“A True Story” by Mark Twain is a short story that was posted in the Atlantic newspaper in 1874, after the Civil War. After the Civil War many African-Americans became servants instead of slaves. They still did not necessarily have rights as humans but they were no longer just considered “property”. African-Americans did not fully gain Civil Rights until the Civil Rights Act of 1964, which outlawed segregation and began the long and continuing process of unifying African Americans with the rest of America.

The story starts off with the narrator, Mister-C. He is describing the setting and describing his servant, Aunt Rachel. He describes Aunt Rachel as a “cheerful, hearty soul”. He then proceeded to ask her about how she hasn’t had any “trouble”. Aunt Rachel responds with a story about her lost son. She had several young children who were sold right in front of her. She went on with her life, because she had no choice in the matter. Years later right after the Civil War, she is a cook for a group of Union soldiers. When a platoon of black Union soldiers come in she recognizes one of the faces. It is one of her children she saw get sold at auction.  She is reunited with her son Henry, the only child she has seen since they were all sold. The story ends with her saying “Oh, no, Misto C-, I hain’t had no trouble. An’ no joy!” My question is why would Mark Twain end the story with the line “Oh, no, Misto C-, I hain’t had no trouble. An’ no joy!”? Is there a deeper meaning behind that line then what it sounds like?

I would have to say in my opinion there is a lot going on in this wrong line. It is a double irony to Mister C’s question saying she doesn’t have any trouble but she isn’t happy either. Going deeper into the text Mister C obviously doesn’t know Aunt Rachel at all. I feel like he thinks he does but he doesn’t  know her on a personal level. In the beginning narration before Aunt Rachel tells her story Mister C is describing her in detail. He first tells about the setting in which he says that Aunt Rachel is “sitting respectfully below our level”. I believe Mark Twain did this to juxtapose between class, race, and gender to set a tone of how the two characters interact with one another. They are not friends because of the skin tone but she isn’t just a piece of property to Mister C. Going into further detail Mister C describes Aunt Rachel as “undimmed”, full of laughter, and just enjoying life. I think Mister C actually just doesn’t know Aunt Rachel like he thinks he does. He thinks she is this joyful spirit full of life but in reality she has had a hard life. She covers her sorrows with a smile to forget her past. Mister C has no idea what she has encountered in life and never will. That is why the dynamics between the two characters is so interesting.

To conclude, I believe this was a very powerful piece in the sense of what Mark twain was showing. He showed the contrasting sides between two very different characters. A servant and former slave and a white slave owner. Mister C could never understand Aunt Rachel or her struggle through life. Watching all of her children get sold, only ever seeing one of them ever again, and now struggling with being a free slave but still not being human to most people. Mister C is one of the more understand white men but he still doesn’t get it.

It was summer time, and twilight. We were sitting on the porch of the farm-house, on the summit of the hill, and «Aunt Rachel» was sitting respectfully below our level, on the steps, — for she was our servant, and colored. She was of mighty frame and stature; she was sixty years old, but her eye was undimmed and her strength unabated. She was a cheerful, hearty soul, and it was no more trouble for her to laugh than it is for a bird to sing. She was under fire, now, as usual when the day was done. That is to say, she was being chaffed without mercy, and was enjoying it. She would let off peal after peal of laughter, and then sit with her face in her hands and shake with throes of enjoyment which she could no longer get breath enough to express. At such a moment as this a thought occurred to me, and I said: —

«Aunt Rachel, how is it that you ‘ve lived sixty years and never had any trouble?» She stopped quaking. She paused, and there was a moment of silence. She turned her face over her shoulder toward me, and said, without even a smile in her voice: —

«Misto C — , is you in ‘arnest?»

Для перехода между страницами книги вы можете использовать клавиши влево и вправо на клавиатуре.

word for word

In or with the same exact words; verbatim. After seeing the play only once, he was able to repeat the monologue word for word. It was amazing. You don’t need to translate it word for word—just make sure it has the same meaning.

Farlex Dictionary of Idioms. © 2022 Farlex, Inc, all rights reserved.

word for word

in the exact words; verbatim. I memorized the speech, word for word. I can’t recall word for word what she told us.

McGraw-Hill Dictionary of American Idioms and Phrasal Verbs. © 2002 by The McGraw-Hill Companies, Inc.

word for word

Exactly as written or spoken, as in That was the forecast, word for word. Chaucer used this idiom in the late 1300s.

The American Heritage® Dictionary of Idioms by Christine Ammer. Copyright © 2003, 1997 by The Christine Ammer 1992 Trust. Published by Houghton Mifflin Harcourt Publishing Company. All rights reserved.

word for word

in exactly the same or, when translated, exactly equivalent words.

Farlex Partner Idioms Dictionary © Farlex 2017

ˌword for ˈword

in exactly the same words; translated directly from another language: I repeated what you said, word for word.It probably won’t sound very natural if you translate it word for word.a word-for-word account, translation, etc.

Farlex Partner Idioms Dictionary © Farlex 2017

See also:

  • word by word
  • from the word go
  • get the word out
  • have word (from someone or something)
  • get word (from someone or something)
  • stick to (one’s) word
  • receive word
  • receive word (from someone or something)
  • false friend
  • in a word

For Twain, a humorist from the West, breaking into The Atlantic was an accomplishment he had aspired to for some time. As the author Ron Powers wrote in his biography of Twain, without the friendship and help of the magazine’s editor, William Dean Howells, “Twain might have flared for a while, a regional curiosity among many, and then faded, forgotten.” Ten years after this tale of slavery, Twain would create a literary icon in the escaped slave Jim in The Adventures of Huckleberry Finn. Above, Twain is pictured with John T. Lewis, who lived near him in Elmira, New York. “I have not known a honester man or a more respect-worthy one,” the author once said of his friend. (Library of Congress)


A fruitful relationship between Samuel Clemens and The Atlantic began in 1869, when William Dean Howells, then an assistant editor, wrote a favorable review of Clemens’s first book, Innocents Abroad. Clemens, who wrote under the name Mark Twain, was so pleased with the review that he stopped by The Atlantic’s offices to meet Howells. The two became friends, and after this first story was published in 1874, Twain’s work began to appear regularly in the magazine.

Twain submitted the manuscript for this piece with the following note: “I enclose … a ‘True Story,’ which has no humor in it … I have not altered the old colored woman’s story except to begin at the beginning, instead of the middle, as she did—and traveled both ways.” The woman in question was Mary Ann Cord (rechristened “Aunt Rachel” here), the cook at his sister-in-law’s farm in Elmira, New York.

Twain’s straightforward writing style marked a dramatic departure from the stilted language and rarefied tastes of the New England literary establishment, and through its embrace of Twain, The Atlantic helped chart a new direction in American literature.

—Sage Stossel

It was summer time, and twilight. We were sitting on the porch of the farm-house, on the summit of the hill, and “Aunt Rachel” was sitting respectfully below our level, on the steps,—for she was our servant, and colored. She was of mighty frame and stature; she was sixty years old, but her eye was undimmed and her strength unabated. She was a cheerful, hearty soul, and it was no more trouble for her to laugh than it is for a bird to sing. She was under fire, now, as usual when the day was done. That is to say, she was being chaffed without mercy, and was enjoying it. She would let off peal after peal of laughter, and then sit with her face in her hands and shake with throes of enjoyment which she could no longer get breath enough to express. At such a moment as this a thought occurred to me, and I said:—

“Aunt Rachel, how is it that you ’ve lived sixty years and never had any trouble?”

She stopped quaking. She paused, and there was a moment of silence. She turned her face over her shoulder toward me, and said, without even a smile in her voice:—

“Misto C , is you in ’arnest?”

It surprised me a good deal; and it sobered my manner and my speech, too. I said:—

“Why, I thought—that is, I meant—why, you can’t have had any trouble. I’ve never heard you sigh, and never seen your eye when there wasn’t a laugh in it.”

She faced fairly around, now, and was full of earnestness.

“Has I had any trouble? Misto C , I’s gwyne to tell you, den I leave it to you. I was bawn down ’mongst de slaves; I knows all ’bout slavery, ’case I ben one of ’em my own se’f. Well, sah, my ole man—dat’s my husban’—he was lovin’ an’ kind to me, jist as kind as you is to yo’ own wife. An’ we had chil’en—seven chil’en—an’ we loved dem chil’en jist de same as you loves yo’ chil’en. Dey was black, but de Lord can’t make no chil’en so black but what dey mother loves ’em an’ wouldn’t give ’em up, no, not for anything dat’s in dis whole world.

“Well, sah, I was raised in Ole Fo’-ginny, but my mother she was raised in Maryland; an’ my souls! she was turrible when she’d git started! My lan’! but she’d make de fur fly! When she’d git into dem tantrums, she always had one word dat she said. She’d straighten herse’f up an’ put her fists in her hips an’ say, ‘I want you to understan’ dat I wa’ n’t bawn in de mash to be fool’ by trash! I’s one o’ de ole Blue Hen’s Chickens, I is!’ ’Ca’se, you see, dat’s what folks dat’s bawn in Maryland calls deyselves, an’ dey’s proud of it. Well, dat was her word. I don’t ever forgit it, beca’se she said it so much, an’ beca’se she said it one day when my little Henry tore his wris’ awful, an’ most busted his head, right up at de top of his forehead, an’ de niggers did n’t fly aroun’ fas’ enough to ’tend to him. An’ when dey talk’ back at her, she up an’ she says, ‘Look-a-heah!’ she says, ‘I want you niggers to understan’ dat I wa’ n’t bawn in de mash to be fool’ by trash! I’s one o’ de ole Blue Hen’s Chickens, I is!’ an’ den she clar’ dat kitchen an’ bandage’ up de chile herse’f. So I says dat word, too, when I’s riled.

“Well, bymeby my ole mistis say she’s broke, an’ she got to sell all de niggers on de place. An’ when I heah dat dey gwyne to sell us all off at oction in Richmon’, oh de good gracious! I know what dat mean!”

Aunt Rachel had gradually risen, while she warmed to her subject, and now she towered above us, black against the stars.

“Dey put chains on us an’ put us on a stan’ as high as dis po’ch,—twenty foot high,—an’ all de people stood aroun’, crowds an’ crowds. An’ dey’d come up dah an’ look at us all roun’, an’ squeeze our arm, an’ make us git up an’ walk, an’ den say, ‘Dis one too ole,’ or ‘Dis one lame,’ or ‘Dis one don’t ’mount to much.’ An’ dey sole my ole man, an’ took him away, an’ dey begin to sell my chil’en an’ take dem away, an’ I begin to cry; an’ de man say, ‘Shet up yo’ dam blubberin’,’ an’ hit me on de mouf wid his han’. An’ when de las’ one was gone but my little Henry, I grab’ him clost up to my breas’ so, an’ I ris up an’ says, ‘You shan’t take him away,’ I says; ‘I’ll kill de man dat tetches him!’ I says. But my little Henry whisper an’ say, ‘I gwyne to run away, an’ den I work an’ buy yo’ freedom.’ Oh, bless de chile, he always so good! But dey got him—dey got him, de men did; but I took and tear de clo’es mos’ off of ’em, an’ beat ’em over de head wid my chain; an’ dey give it to me, too, but I did n’t mine dat.

“Well, dah was my ole man gone, an’ all my chil’en, all my seven chil’en—an’ six of ’em I hain’t set eyes on ag’in to dis day, an’ dat’s twenty-two year ago las’ Easter. De man dat bought me b’long’ in Newbern, an’ he took me dah. Well, bymeby de years roll on an’ de waw come. My marster he was a Confedrit colonel, an’ I was his family’s cook. So when de Unions took dat town, dey all run away an’ lef’ me all by myse’f wid de other niggers in dat mons’us big house. So de big Union officers move in dah, an’ dey ask would I cook for dem. ‘Lord bless you,’ says I, ‘dat’s what I’s for.’

“Dey wa’ n’t no small-fry officers, mine you, dey was de biggest dey is; an’ de way dey made dem sojers mosey roun’! De Gen’l he tole me to boss dat kitchen; an’ he say, ‘If anybody come meddlin’ wid you, you jist make ’em walk chalk; don’t you be afeard,’ he say; ‘you’s ’mong frens, now.’

“Well, I thinks to myse’f, if my little Henry ever got a chance to run away, he ’d make to de Norf, o’ course. So one day I comes in dah whah de big officers was, in de parlor, an’ I drops a kurtchy, so, an’ I up an’ tole ’em ’bout my Henry, dey a-listenin’ to my troubles jist de same as if I was white folks; an’ I says, ‘What I come for is beca’se if he got away and got up Norf whah you gemmen comes from, you might ’a’ seen him, maybe, an’ could tell me so as I could fine him ag’in; he was very little, an’ he had a sk-yar on his lef’ wris’, an’ at de top of his forehead.’ Den dey mournful, an’ de Gen’l say, ‘How long sence you los’ him?’ an’ I say, ‘Thirteen year.’ Den de Gen’l say, ‘He would n’t be little no mo’, now—he’s a man!’

“I never thought o’ dat befo’! He was only dat little feller to me, yit. I never thought ’bout him growin’ up an’ bein’ big. But I see it den. None o’ de gemmen had run acrost him, so dey could n’t do nothin’ for me. But all dat time, do’ I did n’t know it, my Henry was run off to de Norf, years an’ years, an’ he was a barber, too, an’ worked for hisse’f. An’ bymeby, when de waw come, he ups an’ he says, ‘I’s done barberin’,’ he says; ‘I’s gwyne to fine my ole mammy, less’n she’s dead.’ So he sole out an’ went to whah dey was recruitin’, an’ hired hisse’f out to de colonel for his servant; an’ den he went all froo de battles everywhah, huntin’ for his ole mammy; yes indeedy, he’d hire to fust one officer an’ den another, tell he ’d ransacked de whole Souf; but you see I did n’t know nuffin ’bout dis. How was I gwyne to know it?

“Well, one night we had a big sojer ball; de sojers dah at Newbern was always havin’ balls an’ carryin’ on. Dey had ’em in my kitchen, heaps o’ times, ’ca’se it was so big. Mine you, I was down on sich doin’s; beca’se my place was wid de officers, an’ it rasp’ me to have dem common sojers cavortin’ roun’ my kitchen like dat. But I alway’ stood aroun’ an’ kep’ things straight, I did; an’ sometimes dey’d git my dander up, an’ den I’d make ’em clar dat kitchen, mine I tell you!

“Well, one night—it was a Friday night—dey comes a whole plattoon f’m a nigger ridgment dat was on guard at de house,—de house was head-quarters, you know,—an’ den I was jist a-bilin’! Mad? I was jist a-boomin’! I swelled aroun’, an’ swelled aroun’; I jist was a-itchin’ for ’em to do somefin for to start me. An’ dey was a-waltzin’ an a-dancin’! my! but dey was havin’ a time! an’ I jist a-swellin’ an’ a-swellin’ up! Pooty soon, ’long comes sich a spruce young nigger a-sailin’ down de room wid a yaller wench roun’ de wais’; an’ roun’ an’ roun’ an’ roun’ dey went, enough to make a body drunk to look at ’em; an’ when dey got abreas’ o’ me, dey went to kin’ o’ balancin’ aroun’, fust on one leg, an’ den on t’other, an’ smilin’ at my big red turban, an’ makin’ fun, an’ I ups an’ says, ‘Git along wid you!—rubbage!’ De young man’s face kin’ o’ changed, all of a sudden, for ’bout a second, but den he went to smilin’ ag’in, same as he was befo’. Well, ’bout dis time, in comes some niggers dat played music an’ b’long’ to de ban’, an’ dey never could git along widout puttin’ on airs. An’ de very fust air dey put on dat night, I lit into ’em! Dey laughed, an’ dat made me wuss. De res’ o’ de niggers got to laughin’, an’ den my soul alive but I was hot! My eye was jist a-blazin’! I jist straightened myself up, so,—jist as I is now, plum to de ceilin’, mos’,—an’ I digs my fists into my hips, an’ I says, ‘Look-a-heah!’ I says, ‘I want you niggers to understan’ dat I wa’ n’t bawn in de mash to be fool’ by trash! I’s one o’ de ole Blue Hen’s Chickens, I is!’ an’ den I see dat young man stan’ a-starin’ an’ stiff, lookin’ kin’ o’ up at de ceilin’ like he fo’got somefin, an’ could n’t ’member it no mo’. Well, I jist march’ on dem niggers,—so, lookin’ like a gen’l,—an’ dey jist cave’ away befo’ me an’ out at de do’. An’ as dis young man was a-goin’ out, I heah him say to another nigger, ‘Jim,’ he says, ‘you go ’long an’ tell de cap’n I be on han’ ’bout eight o’clock in de mawnin’; dey’s somefin on my mine,’ he says; ‘I don’t sleep no mo’ dis night. You go ’long,’ he says, ‘an’ leave me by my own se’f.’

“Dis was ’bout one o’clock in de mawnin’. Well, ’bout seven, I was up an’ on han’, gittin’ de officers’ breakfast. I was a-stoopin’ down by de stove,—jist so, same as if yo’ foot was de stove,—an’ I’d opened de stove do wid my right han’,—so, pushin’ it back, jist as I pushes yo’ foot,—an’ I’d jist got de pan o’ hot biscuits in my han’ an’ was ’bout to raise up, when I see a black face come aroun’ under mine, an’ de eyes a-lookin’ up into mine, jist as I’s a-lookin’ up clost under yo’ face now; an’ I jist stopped right dah, an’ never budged! jist gazed, an’ gazed, so; an’ de pan begin to tremble, an’ all of a sudden I knowed! De pan drop’ on de flo’ an’ I grab his lef’ han’ an’ shove back his sleeve,—jist so, as I’s doin’ to you,—an’ den I goes for his forehead an’ push de hair back, so, an’ ‘Boy!’ I says, ‘if you an’t my Henry, what is you doin’ wid dis welt on yo’ wris’ an’ dat sk-yar on yo’ forehead? De Lord God ob heaven be praise’, I got my own ag’in!’

“Oh, no, Misto C , I hain’t had no trouble. An’ no joy!”

According to legend, Ernest Hemingway was challenged to write a short story using only six words. He came up with: “For sale: baby shoes, never worn.”

Six-word stories are a great way to practice your writing without actually having to write much.They can also be used to warm up before working on a novel or short story.

When I had first heard about six-word stories, I thought, “A whole story in six words? That’s impossible!”

Then I wrote my first six-word story—and it was really easy, not mention fun! Once you write your first, you can write a whole army of them. Here’s how six-word stories can be used as a great writing prompt.

My sprite is in a coffee cup.

Photo by zoovroo

1. Read

Before you write a six-word story, you should look at some examples. A great website you can use is sixwordstories.net. If you just want to look at a few quick examples, here are a few I liked:

“Rapunzel! I am slipping! A wig?!”

Misleadingly deep puddle. Curious child missing.

“I love you, too,” she lied.

Artificial limb, bungie jump-bad idea.

2. How to Write a Six-Word Story

Now that you’ve looked at some examples, you’re ready to write!

But if you end up staring at a blank screen right now—I was before I was able to write a six-word story—just think of a sentence or two that might be intriguing and tells a story without telling an entire story.

If you’re still stuck, try this tip: use magnetic poetry. You know the kind that you put on your refrigerator and mess around with? That often gives me ideas.

If you have an idea, but can’t figure out how to shorten it into six words, here’s some more advice: use contractions. Use “I’m” instead of “I am.” Use “They’re” instead of “They are.”  Now what if your story is too short? Use adjectives. Don’t say, “the ball is round.” That’s only four words. Use, “the ball is big and round,” or, “the ball is furry and round,” or even, “The man-eating ball is hungry.”

And don’t worry if your six-word stories aren’t works of art. They’re supposed to be fun and creative.

3. Use Your Six-Word Stories as a Writing Prompt

When you write or read a six-word story, you probably want to know more about the story, right? Six-word stories severely limit you, and of course, that’s the point!

Once you’ve written a few six word stories, why not turn it into a write prompt. Choose one, and writing that same story using as many words as you would like. Now you can create interesting characters, surprising plot twists, and as much description as you want.

Have you ever written a six-word story? How did you like the process?

Need more grammar help? My favorite tool that helps find grammar problems and even generates reports to help improve my writing is ProWritingAid. Works with Word, Scrivener, Google Docs, and web browsers. Also, be sure to use my coupon code to get 25 percent off: WritePractice25

Coupon Code:WritePractice25 »

PRACTICE

Write a six-word story about anything you like. It can be humorous, dark, mysterious, and anything else you can think of. Then use that six-word story as a writing prompt.

Write for fifteen minutes and lengthen your six-word story into a more-than-six-word-story. Then post both stories as a comment.

Be sure to comment on a few other peoples’ practices. Have fun!

Joe Bunting

Joe Bunting is an author and the leader of The Write Practice community. He is also the author of the new book Crowdsourcing Paris, a real life adventure story set in France. It was a #1 New Release on Amazon. Follow him on Instagram (@jhbunting).

Want best-seller coaching? Book Joe here.

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