Martha Schofield, pioneer Negro educator Historical and philosophical review of reconstruction period of South Carolina — Text and Context

A Biographer's Dual Voice

Evans writes in two distinct registers. In the foreword and chapter headings, she adopts the elevated, moralizing tone of a late-Victorian reformer: education is a battle "between ignorance and enlightenment, between superstition and science." Yet in the narrative chapters, she shifts to a colloquial, almost novelistic style, describing mobs that "pursued the trail" of a fugitive or a preacher who outwits assassins by disguising his horse. This juxtaposition suggests that Evans saw Schofield's story as both a philosophical argument and a thrilling tale. The reader should note how the author's own voice—that of a woman physician and alumna—inflects the account with personal investment, though she rarely inserts herself directly into the text.

Dialect as a Narrative Tool

Evans renders African American speech in heavy dialect, as when the preacher Bettis tells a lynch mob: "Well, ef dat be de way der gud Lawd hab fer me ter go, I's re'dy." The phonetic spelling extends to entire paragraphs of dialogue, creating a stark contrast with the standard English of the surrounding narration. This technique serves multiple purposes: it lends authenticity to the scenes, emphasizes the orality of the characters, and marks social distance between the educated narrator and her subjects. Modern readers may find the dialect jarring or patronizing, but within the text it functions as a deliberate stylistic choice to dramatize the humanity and wit of figures like Bettis, who uses his folksy speech to disarm his would-be killers.

The Mob as a Recurring Set Piece

Two extended episodes—the pursuit of Leslie Duncan in "Mob Spirit of Lick Skillet" and the near-lynching of preacher Bettis—share a common structure: a mob forms, a victim is cornered, and tension builds through dialogue and detail. Evans lingers on the mob's hunger, the victim's calm, and the ironic hospitality offered by the threatened. In the Bettis scene, the preacher feeds his executioners before they can act, a reversal that Evans underlines with rhetorical flourish: "they who had come, not to feed him but to make food of him for the worms." These set pieces suggest that Evans was as interested in the psychology of mob violence as in Schofield's educational work, though the excerpts do not reveal how these episodes connect to the biography's main thread.

The Horse as a Motif of Escape

A curious detail recurs in the Bettis episode: the preacher escapes death because his distinctive iron-gray horse is unavailable, forcing him to ride a different animal past the mob. The mob's leader asks about Bettis's whereabouts, and the disguised preacher directs them to a false location. The horse—known "to the whole country-side"—functions as a marker of identity and a near-fatal liability. Evans uses the animal to build suspense and to illustrate how small contingencies (an illness, a change of mount) alter the course of events. This motif of the recognizable horse echoes the opening chapter's bloodhounds, suggesting that Evans weaves a pattern of pursuit and evasion through the narrative, though the full pattern is only partially visible in the excerpts.

Readers approaching this text should be prepared for a work that oscillates between hagiography, local history, and adventure tale. Evans's choices in diction—from the stilted moralism of the foreword to the vernacular of her characters—reveal a writer trying to reconcile multiple purposes: to honor her mentor, to document Reconstruction violence, and to craft a compelling story. The excerpts offer no sustained portrait of Schofield herself; her presence is felt through the dedication and the school's legacy. Pay attention to how Evans handles point of view, especially in scenes where the biographer seems to channel the voices of those she writes about.