Loyola University Maryland - Evergreen / Green and Gray Yearbook (Baltimore, MD)

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2 THE LOYOLA ANNUAL T he recent death of Joel Chandler Harris, at Atlanta, Georgia, on July 3, 1908, makes an appreciation of his life and works, and a discussion of his place in our litera- ture, both timely and interesting. Mr. Harris, or “ Uncle Remus,” as he is familiarly known to many who do not even know his real name, was born and reared amid the very scenes which he so well describes in his sketches and tales of planta- tion life in the South. He was born on a farm in Middle Georgia on December 8th, 1848. Here he spent his boyhood. Starting his business life as a printer ' s apprentice, “ Uncle ' Remus,” as we shall call Mr. Harris, gradually rose in his profession until he became prominent on the editorial staff of the Atlanta Constitution, while at the same time he was gain- ing fame by his humorous writings. In his latter days ‘‘ Uncle Remus ” was not actively connected with the Consti- tution, but lived quietly and unostentatiously at his country home, “ Snap Bean Farm,” until his death, on July 3, 1908. “ Uncle Remus’s ” most popular works, those upon which

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ET him who wills, outreach with might and main, Heap up the miser ' s store of lustrous gold. Cast Life’s best things into Old Mammon’s mold. And pay low homage to his fetich, gain ; Let him who wills, to earthly power attain. Pattern his life upon some tyrant old Who dwelt a ruthless wolf within Time’s fold And spared nor cot, nor court, nor sacred fane. Mine be the hope in life to bear some fruit That will not perish when my tongue is mute ; xA chieve some work that will endure Time’s stings And help some mortal live to better tilings. My life’s ideal— a guiding star, whose gleam Will light the world beyond my fleeting dream. C. C. Rohr, ’09. 1

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THE LOYOLA ANNUAL 3 his fame chiefly rests, are his humorous stories and sketches; though even when the author attempts more serious themes, as he has done in sketching the history of his native State, the reader is delighted by the charm of style of which he was the master. But “ Uncle Remus’s ” life work, the work for which he will be remembered when all his other works are for- gotten, was the creation of the character of the aged negro, full of strange superstitions and fancies, by v hose name the author is now most familiarly known. Opportune was the time when the appearance of the Uncle Remus tales delighted the country. In “Uncle Tom’s Cabin” the public had had pre- sented to them the dark side of plantation life, which, no one will deny, was, at times, the true picture of the life of the slave. At the very time when it could do the most good, at that period when the literary presentation of the other side of slave life was most timely, “ Uncle Remus ” appeared upon the scene. The people saw for the first time the true plantation negro, peculiarities and all. The blood-hound and the lash were for the first time not a part of the stage property. In their place were substituted all the implements of peace. The result was that all parts of the country could enjoy alike “ Uncle Remus’s delightful tales and droll sayings. There v as nothing in the new work to stir up sectional animosity. It was a message of peace. In the plantation negro, the author had to deal with a character of great subtlety. He accomplished his difficult task most successfully in creating and presenting to us the inimi- table character of the aged darky Remus, whose tales of “ Br’er Rabbit ” and “ Br’er Tarrypin ” have delighted two generations of Americans, and will continue to give delight until the sense of appreciation of good nature and humor has died out. The negro is a factor in American life not to be laughed at, whether a factor for good or evil. And certainly he was a factor for good when he gave Mr. Harris the inspiration to