Down the River; Or, Buck Bradford and His Tyrants — A Closer Reading

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Optic, Oliver, 1822-1897 Project Gutenberg 2008 Not confirmed
Conduct of life -- Juvenile fiction; Children -- Conduct of life -- Juvenile fiction; Siblings -- Juvenile fiction; Children with disabilities -- Juvenile fiction; Mississippi River -- Juvenile fiction; Cruelty -- Juvenile fiction Readers of public-domain and historical texts
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Words 63,023
Reading time 275 min
Text sections 7

This digital edition of Down the River; Or, Buck Bradford and His Tyrants — A Closer Reading is described by source-level measurements including 63,023 words, 4 hr 35 min estimated reading time, and 7 detected text sections.

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Project Gutenberg metadata also associates the work with “Conduct of life -- Juvenile fiction,” connecting these edition facts with the source record’s subject description.

Oliver Optic's 1868 novel follows Buck Bradford, a resourceful boy who builds a raft to escape his abusive guardians with his disabled sister Flora. The first-person narrative reveals his practical ingenuity and moral resolve through detailed descriptions of construction, river navigation, and tense encounters with authority figures.
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CHAPTER I. TWO OF THE TYRANTS. 11

CHAPTER II. FLORA BRADFORD. 21

CHAPTER III. ON THE DEFENSIVE. 32

CHAPTER IV. WHO IS MASTER. 44

CHAPTER V. A BATTLE AT LONG RANGE. 55

CHAPTER VI. SQUIRE FISHLEY. 66

CHAPTER VII. AFTER MIDNIGHT. 77

CHAPTER VIII. MISS LARRABEE'S LETTER. 88

CHAPTER IX. THE HUNGRY RUNAWAY. 99

CHAPTER X. WHAT SIM GWYNN WANTED TO SEE ME FOR. 110

CHAPTER XI. BUILDING THE RAFT. 121

CHAPTER XII. SQUIRE FISHLEY MAKES IT RIGHT. 132

CHAPTER XIII. NEAR UNTO DEATH. 143

CHAPTER XIV. WHO ROBBED THE MAIL. 154

CHAPTER XV. THE DEPARTURE. 166

CHAPTER XVI. DOWN THE RIVER. 178

CHAPTER XVII. NIGHT ON THE RIVER. 189

CHAPTER XVIII. AT THE MOUTH OF THE OHIO. 201

CHAPTER XIX. AFTER THE EXPLOSION. 212

CHAPTER XX. EMILY GOODRIDGE. 223

CHAPTER XXI. FLORA AND HER PATIENT. 234

CHAPTER XXII. THE END OF THE VOYAGE. 245

CHAPTER XXIII. CLARENCE BRADFORD. 256

CHAPTER XXIV. UP THE RIVER. 268

CHAPTER XXV. TWO HOURS IN JAIL. 279

CHAPTER XXVI. CONCLUSION. 290

BUCK BRADFORD AND HIS TYRANTS.

"Here, Buck Bradford, black my boots, and be quick about it."

That was what Ham Fishley said to me.

"Black them yourself!"

That was what I said to Ham Fishley.

Neither of us was gentlemanly, nor even civil. I shall not apologize for myself, and certainly not for Ham, though he inherited his mean, tyrannical disposition from both his father and his mother. If he had civilly asked me to black his boots, I would have done it. If he had just told me that he was going to a party, that he was a little late, and asked me if I would assist him, I would have jumped over his head to oblige him, though he was three inches taller than I was. I am willing to go a step farther. If this had been the first, or even the twentieth, time that Ham had treated me in this shabby manner, I would have submitted. For three years he had been going on from bad to worse, till he seemed to regard me not only as a dog, but as the meanest sort of a dog, whom he could kick and cuff at pleasure.

I had stood this sort of thing till I could not stand it any longer. I had lain awake nights thinking of the treatment bestowed upon me by Captain Fishley and his wife, and especially by their son Ham; and I had come deliberately to the conclusion that something must be done. I was not a hired servant, in the ordinary sense of the term; but, whether I was or was not a servant, I was entitled to some consideration.

"What's that you say?" demanded Ham, leaping over the counter of the store.

I walked leisurely out of the shop, and directed my steps towards the barn; but I had not accomplished half the distance before my tyrant overtook me. Not being willing to take the fire in the rear, I halted, wheeled about, and drew up in order of battle. I had made up my mind to keep perfectly cool, whatever came; and when one makes up his mind to be cool, it is not half so hard to succeed as some people seem to think.

"I told you to black my boots," said Ham, angrily.

"Well, Buck Bradford, you'll do it!"

"Well, Ham Fishley, I won't do it!"

"Then I'll make you."

He stepped up to me; but I didn't budge an inch. I braced up every fibre of my frame in readiness for the shock of battle; but there was no shock of battle about it.

"I guess I'll let the old man settle this," said Ham, after a glance at me, which seemed very unsatisfactory.

"All right," I replied.

My tyrant turned on his heel, and hastened back to the store. Ham Fishley's father was "the old man," and I knew that it would not be for the want of any good will on his part, if the case was not settled by him. I had rebelled, and I must take my chances. I went to the barn, harnessed the black horse to the wagon, and hitched him at a post in the yard, in readiness to go down to Riverport for the mail, which I used to do every evening after supper.

Of course my thoughts were mainly fixed upon the settlement with the old man; and I expected every moment to see him rushing upon me, like an untamed tiger, to wreak his vengeance upon my head. I was rather surprised at his non-appearance, and rather disappointed, too; for I preferred to fight the battle at the barn, or in the yard, instead of in the house or the store. Though my thoughts were not on my work, I busied myself in sweeping out the horse's stall, and making his bed for the night.

"Buck! Buck! Buck!" called Mrs. Fishley, from the back door of the house.

She always called three times; for she was a little, snappy, snarling woman, who never spoke pleasantly to any one, except when she had company, or went to the sewing circle.

"Here, marm!" I replied.

"Come here; I want you!" she added, clear up in the highest tones of her voice, which sounded very much like the savage notes of an angry wasp.

It was some consolation to know, under the peculiar circumstances, that she wanted me, instead of "the old man," her lord and master, and that I was not called to the expected settlement, which, in spite of my fixed determination, I could not help dreading. Mrs. Fishley wanted me--not her husband. She was always wanting me; and somehow I never happened to be in the right place, or to do anything in the right way.

Mrs. Fishley believed she was one of the most amiable, self-denying, self-sacrificing, benevolent women in the world. Nobody else believed it. She had to endure more trials, bear more crosses, undergo more hardships, than any other housekeeper in town. She had to work harder, to think of more things, stagger under more burdens, than all her female neighbors put together. If she ever confessed that she was sometimes just a little cross, she wanted to know who could wonder at it, when she had so much to do, and so many things to think of. Job could be patient, for he had not her family to look after. The saints and martyrs could bow resignedly at the stake in the midst of the flaming fagots; but none of them had to keep house for a husband and three children, and two of them not her own.

To make a fair and just division of Mrs. Fishley's cares, one tenth of them were real, and nine tenths of them were imaginary; and the imaginary ones were more real to her than the actual ones. They soured her temper,--or, more properly, her temper soured them,--and she groaned, complained, snarled, snapped, and fretted, from very early on Sunday morning to very late on Saturday evening. Nothing ever went right with her; nothing ever suited her. If a thing was one way, that was the especial reason why it ought to have been some other way.

She always wanted her own way; and when she had it--which she generally did--it did not suit her any better. I am inclined to think that Captain Fishley himself, at some remote period, long before I was born, had been a more decent man than he was at the time of which I write. If he ever had been, his degeneracy was easily explained; for it would not have been possible for a human being, in daily contact with such a shrewish spitfire as his wife, to exist untainted in the poison which floated in the atmosphere around her.

This was the woman who inflicted herself upon the world, and upon me, though I was by no means the greatest sufferer. If the mischief had stopped here, I could have borne it, and the world could not have helped itself. To me there was something infinitely worse and more intolerable than my own trials--and they were the trials of my poor, dear, deformed, invalid sister. Tender, loving, and patient as she was under them, her sufferings made my blood boil with indignation. If Mrs. Fishley had treated Flora kindly, she would have been an angel in my sight, however much she snapped and snarled, and "drove me from pillar to post." The shrew did not treat her kindly, and as the poor child was almost always in the house, she was constantly exposed to the obliquities of her temper.

My mother, for several years before her death, had been of feeble constitution, and Flora had the "rickets" when she was a babe. She was now twelve years old, but the effects of the disease still lingered in her frame. Her limbs were weak, her breast-bone projected, and she was so drawn up that she looked like a "humpback." But what she lacked in body she more than made up in spirit, in the loveliness of an amiable disposition, in an unselfish devotion to others, in a loving heart, and a quick intelligence. She endured, without complaint, the ill nature of Mrs. Fishley, endeavoring, by every means in her power, to make herself useful in the house, and to lighten the load of cares which bore down so heavily upon her hostess.

Mrs. Fishley called me, and I hastened to attend upon her will and pleasure, in the back room. I knew very well that it would make no difference whether I hurried or not; I should "have to take it" the moment she saw me. If I was in the barn, I ought to have been in the shop; if in the shop, then I should have been in the barn--unless she had company; and then she was all sweetness, all gentleness; then she was all merciful and compassionate.

"What are you doing out there?" snarled she. "I've been out in the street and into the store after you, and you always are just where no one can find you when you are wanted."

I didn't say anything; it wasn't any use.

"Take that bucket of swill out, and give it to the pigs; and next time don't leave it till it is running over full," she continued, in the same amiable, sweet-tempered tones. "It's strange you can't do anything till you are told to do it. Don't you know that swill-pail wants emptying, without being told of it?"

"I always feed the pigs three times a day whether the pail wants emptying or not," I ventured to reply, in defence of the pigs rather than myself.

"There, carry it along, and don't spill it."

The pail was filled even with the brim, and it was simply impossible to avoid spilling it.

"What a careless fellow you are!" screamed she, her notes on the second added line above the treble staff. "You are spilling it all over the floor! I wish you could learn to do anything like folks!"

I wished I could too; but I did not venture to suggest that if she had not filled the pail so full, and even run it over herself before I touched it, I might have carried it "like folks." It was no use; she always got the better of me in an argument. I fed the pigs, as I always did, before I went after the mail, and carried the pail back to the shed. The door of the kitchen was open, and Mrs. Fishley was returning to her work as I entered.

"You careless child! What do you mean by letting those cakes burn?" I heard her cry to poor Flora, who was sitting in her arm-chair by the cooking-stove, whereon Mrs. Fishley was baking flapjacks for supper.

"You didn't know, you careless hussy!" exclaimed Mrs. Fishley, seizing her by the arm, and lifting her roughly out of her chair.

"O, don't!" groaned poor Flora.

I could not stand that. I rushed into the kitchen, seized poor Flora's tyrant by the shoulders, and hurled her half way across the room. My blood was up to the boiling point.

I had never seen Mrs. Fishley use violence upon my poor sister before, though I afterwards learned that this was not the first time. I was a solid-built, stout fellow of sixteen; and when I seized the shrew by the shoulders, I was in real earnest. I had not made up my mind for this occasion to keep cool, and I did not keep so. I was as mad as a bear robbed of her cubs.

The idea of Mrs. Fishley's taking my poor deformed sister by the arm, and shaking her, was too revolting, and even horrible, to be endured. If I could bear everything else, I could not bear that. At the present time, I have this pleasant consciousness, that I did not strike the woman; I only grasped her by the shoulders, and hurled her away from her victim. It was a vigorous movement on my part, and Mrs. Fishley staggered till she saved herself by taking hold of a chair. She gathered herself up, and her eyes flashed fire.

"You rascal, you! What do you mean?" gasped she; and at the same instant she rushed towards Flora, who was trembling with terror in her chair.

"Stop a minute, Mrs. Fishley," I added.

"You rascal, you!" repeated she, looking first at me, and then at Flora.

"If you put the weight of your little finger on my sister again, I'll tear you in pieces," I continued, with both fists clinched.

"What do you mean, you serpent, you?"

"You touch her again, and you will know what I mean."

"Don't, Buckland, don't," pleaded poor Flora, alarmed by the hostile demonstration before her.

"I should like to know!" cried Mrs. Fishley.

As she did not tell me what she should like to know, I did not tell her. I stood upon the defensive between the virago and my sister's chair.

"Did any one ever see such a boy!" continued the termagant, her tones a whole octave above the treble staff, as it seemed to me. "How dare you put your hand on me?"

"You may snap and snarl at me as much as you like; I don't mind it; but you shall not abuse my sister."

"Abuse your sister, you wretch!" said she, the words hissing from her mouth. "I should like to know!"

"You will know if you touch Flora again," I answered.

Somehow I felt as though Mrs. Fishley was not getting the better of me in this argument; and I soon came to the conclusion that she thought so herself, for she settled into a chair, and began to exhibit some symptoms of hysterics.

"O, dear me!" she groaned. "I don't have to work enough to kill common folks, I don't have more trials than any living being, but something new must come upon me. There, I shall give up!"

"You must give up abusing Flora," I put in.

"How dare you tell me I abuse her?" snapped she. "Haven't I taken the best of care of her? Haven't I made her clothes for her? Haven't I nursed her when she was sick? Haven't I done for her ever since she came into the house?"

I don't think she had the least idea that she was not the best friend Flora had in the world, so blind are many people to their own errors and shortcomings.

"She has had enough to eat, and enough to wear; and my brother has paid for all she has had," I added. "But you are continually scolding at her, browbeating her, and making her as uncomfortable and unhappy as you can."

"Scolding her!" almost whistled Mrs. Fishley, so high was the key. "I never scold at any one. I never was a scolding woman."

"Gracious!" I exclaimed, mentally.

"When things don't suit me, I'm apt to say so; but I never scold," whined the shrew. "Whatever people may say of me, they can't call me a scolding woman."

Was it possible she thought so!

"I don't want to make any trouble, Mrs. Fishley," I replied, when she paused, rather for want of breath than for any other reason.

"Mercy! I shouldn't think you did! Ain't you ashamed of yourself to treat me as you did? You push me about as though you thought I wasn't anybody."

"Are you not ashamed of yourself for shaking that sick child?" I retorted.

"I didn't shake her."

"Then I didn't push you."

"You are getting to be a very bad boy, Buck Bradford; and you haven't heard the last of this," she said, rising from her chair, and restoring the griddle to the stove, which Flora had taken off. "I should like to know! Can't I speak to that girl without being treated in that manner? She would let the cakes all burn up before she would touch them."

"I didn't know they were burning, Mrs. Fishley," pleaded Flora. "You didn't tell me to see to them."

"Suppose I didn't tell you! Didn't you know enough not to let them burn? You are a careless, indifferent girl, and it don't make no difference to you how much trouble you make for a body."

"I would have seen to the cakes, if you had spoken to me."

"I don't care anything about the cakes, anyhow," I interposed. "If you can't help scolding Flora, you must keep your hands off her."

"You don't care anything about the cakes! I should like to know! Well, we'll see about it! I'll know who rules here, I vum! I'll call Mr. Fishley! We'll see if you don't care!" rattled Mrs. Fishley, as she bolted from the kitchen through the entry into the store.

"O, Buckland, what will become of us!" exclaimed Flora, rising with difficulty from her chair, and throwing herself upon my breast.

"Don't be afraid, Flora," I replied, pressing her to my heart, while the tears started in my eyes. "She shall not abuse you, whatever happens to me. While she did it only with her tongue, I bore it; but when she took hold of you, I couldn't stand that, Flora--no, I could not."

"I can bear it very well, Buckland." She never called me "Buck," as everybody else did about the place. "I only fear what they will do to you."

"I can take care of myself, dearest Flora. I am strong and tough, and I can stand almost anything," I answered, pressing her to my heart again, for she seemed to be the only person in the world who loved me.

And how I loved her--poor orphan child, weak, sick, and deformed! It seemed to me it would have been different if she had been well and strong, and able to fight her own battle with the hard and cruel world. She was helpless and dependent, and that which shut her out from the rest of the world endeared her to me, and wound her in with every fibre and tendril of my heart.

Mrs. Fishley did not immediately return; neither did her husband appear upon the battle-field; and I concluded that she could not find him.

While, folded in each other's arms, we waited in almost breathless anxiety for the coming of our tyrants, let me give the reader a few necessary particulars in regard to our antecedents and surroundings.

Torrentville, where the story opens, is situated in the south-western part of Wisconsin, though, for obvious reasons, it will not be found on the map. It was located on a stream, which we called the "Creek," though it has since received a more dignified and specific name, about seven miles from Riverport, on the Wisconsin River. At the time of which I write it contained two thousand inhabitants. Captain Fishley--he had been an officer in the militia in some eastern state, and his title had gone west with him--kept the principal store in the place, and was the postmaster.

My father had moved from the State of New York to Torrentville when I was eight years old, and soon after the death of my mother. He had three children, Clarence, Flora, and myself. He bought a farm just out of the village, employed a housekeeper, and for four years got along very well. But he was too ambitious, and worked too hard for his constitution. After a four years' residence in the west, he died. That was a sad day to us, for he was the kindest of fathers. Poor Flora scarcely ceased to weep, at times, for a year, over the loss of her only parent.

Buck Bradford narrates his own story in a plain, direct voice that matches his practical nature. From the opening chapters, Optic establishes Buck as a young man who acts rather than complains: when he decides to leave his tyrants, he methodically builds a raft, borrows a saw, and plans every detail of the escape. The narrative dwells on the physical work—measuring, sawing, hauling—giving readers a tangible sense of Buck's competence.

The author's choice of first-person point of view keeps the reader inside Buck's head, sharing his calculations and his quiet defiance. When he says, "I don't owe him anything now," the line carries the weight of a boy who has kept a precise moral ledger. Optic uses this voice to show character through action and understatement, not through authorial commentary.

A Boy Who Builds His Own Escape

The raft-building sequence is the novel's most sustained piece of physical description. Buck does not simply decide to leave; he calculates the current's speed, tests the roof against rain, and stops every crack where wind might blow on his sister. Optic gives the reader the dimensions of the raft, the number of trips through the swamp, and the exact placement of the stove. These details do more than advance the plot—they establish Buck's character through his craftsmanship.

His dialogue with Sim Gwynn reinforces this. When Sim asks about the wheelbarrow, Buck replies, "Take it up into the open field, where they can see it." He refuses to take anything from Fishley, even a borrowed saw. The moral accounting is precise: he buys a new saw rather than keep one borrowed. Optic lets the action speak for the boy's integrity.

Flora's Presence and the Limits of the Narrative

Flora Bradford is described as "deformed," and Buck's care for her drives much of the plot. He builds her a room with a bunk, shelves, and a rug; he worries about her catching cold. Yet the excerpts give us little of Flora's own voice. She asks questions—"Shall you be gone long?"—and declares the raft "ever so much nicer than she had expected," but her inner life remains largely inferred.

Optic uses Flora primarily as a motive for Buck's actions. She is the reason he must succeed, the vulnerable passenger who cannot walk or defend herself. The narrative does not explore her perspective in the same depth as Buck's. Readers should note that the story's emotional weight depends on this asymmetry: we see Buck's worry, but we do not see Flora's fear or hope directly.

The Tyrants as Offstage Threats

The novel's title promises tyrants, but in the excerpts they remain mostly offstage. Squire Fishley is mentioned as an authority figure, and Buck refers to "my tyrants" in the plural, but the escape sequence unfolds without direct confrontation. The threat is felt through Buck's caution: he waits until dark, avoids the road to Riverport, and calculates how far the raft will drift by morning.

Optic builds tension through absence. When Buck says, "Very likely they have missed us by this time," the reader supplies the danger. The author trusts the reader to understand what Buck does not say. This restraint gives the escape a quiet, procedural feel—more like a careful engineering problem than a melodrama. The real conflict may lie ahead, in the river journey itself.

River Time and the Rhythm of the Journey

Optic pays close attention to the passage of time on the river. Buck estimates the raft's speed at "three or four miles an hour" and calculates that they will be twenty miles away by five in the morning. The narrative moves at the pace of the current: deliberate, measured, with pauses for work and conversation.

This temporal rhythm shapes the reader's experience. There is no frantic chase; instead, the story unfolds in the time it takes to load a raft, light a lantern, and make a bed. Optic uses this slow pace to create a sense of genuine escape—not a Hollywood flight, but a real journey where every mile is earned by labor. The river itself becomes a character, its "turbid tide" mentioned in the preface as a familiar presence from the author's own travels.

Readers approaching Down the River should attend to what Optic leaves unsaid. The first-person narration gives Buck authority over the story, but it also limits what we know about other characters. Flora's inner world, the tyrants' motives, and the larger social context remain in shadow. The novel rewards attention to practical details—the building of the raft, the navigation of the river—as expressions of character. Buck Bradford is what he does, and Optic trusts his young readers to see that.

That rainy afternoon, I lingered over Buck’s raft-building, the quiet stubbornness of his hands. Afterwards, a strange longing for other rescued worlds led me to Bee: The Princess of the Dwarfs — Context and Discussion, where a different kind of solitary child finds her own hidden order. Both felt like small shelters against the weather outside.

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