The Babes in the Basket; or, Daph and Her Charge — Reading Companion

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Baker, Sarah S. (Sarah Schoonmaker), 1824-1906 Project Gutenberg 2018 Not confirmed
Enslaved persons -- Juvenile fiction; Loyalty -- Juvenile fiction; Caribbean Area -- Juvenile fiction Readers of public-domain and historical texts
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Edition facts

Words 27,002
Reading time 118 min
Text sections 17

The catalog record for The Babes in the Basket; or, Daph and Her Charge — Reading Companion provides practical reading context through 27,002 words, 1 hr 58 min estimated reading time, and 17 detected text sections.

The text analysis averages about 22.0 words per sentence, while the detected sections provide another way to judge how the source is divided.

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

An editorial note on how the opening, middle, and later excerpts of Sarah S. Baker's 1859 novel guide a first reading, focusing on Daph's ambiguous entrance, the children's refined appearance, and the unraveling of secrets through Dr. Bates's suspicions.
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Editorial Edition Score 4.7/5

Calculated from edition completeness, EPUB availability, text structure and catalogue metadata. Not a user rating.

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  • Description quality20 pts
  • Title & short description10 pts
  • Source metadata20 pts
  • Text length15 pts
  • Chapters / structure15 pts
  • EPUB file integrity20 pts

Total of 100 points, scaled to a 2.5-5.0 range. Editions with an empty description or a missing EPUB file are not scored.

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Read the Text

s; the heavy shutters were thrown back, and the moonlight poured, in long, unbroken streams, across the polished, un-carpeted floor.

Within the large pleasant room, two children were sleeping in their curtained beds, like birds in pretty cages.

Suddenly there was a cautious tread in the hall, and then a strange figure stood silently in the moonlight. Without candle, or taper, might have been plainly seen the short, strongly-built woman, whose black face and gay turban formed a striking contrast to the fair children in their loose, white night-dresses.

Who was that dark intruder, and what was her secret errand, in that quiet room?

It was Daph, black Daph, and when you have heard more about her, you can better judge whether she came as a friend, or an enemy, to the sleeping children of her master.

The large mirror, bright in the moonlight, seemed to have an irresistible attraction for the negro, and the sight of her black face fully reflected there, made her show her white teeth in a grin of decided approval. The pleased expression, however, disappeared almost instantly, as she said impatiently, “Foolish darky, spendin dese precious time, looking at your own ugly face!”

At this whispered exclamation, the children stirred uneasily. “If I mus, I mus!” said Daph, resolutely, as she drew from her pocket a box, containing two small pills. With the pills in her hand she approached the bedside of the little girl, who was now half sitting up, and looking at Daph, with the bewildered expression of one suddenly aroused from sleep.

Daph put aside the mosquito bar, and said, coaxingly, “Take dis, Miss Lou, quick as you can, and don’t go for waking Mass Charley, asleep da in dat beauty bed of his.”

Daph had slipped the pill into a juicy bit of pineapple, which she seemed to have had ready for the purpose, and the child instantly swallowed it. With one trustful, pleasant glance from her large, blue eyes, the fair-haired little girl sank back on her pillow, and was soon in the sweet sleep of innocence.

As soon as Daph saw the small, slender hands lie open and relaxed, she closed the gauze-like curtains, and stole to the cradle-bed of the little boy. She raised his head gently on her arm, and placed in his mouth a bit of the same juicy fruit she had given his sister, containing another of those hidden pills, which she seemed so anxious to administer. The child did not wake, but the sweet morsel was pleasant to his taste, and no doubt mingled in his baby-dreams of the joys of the pleasant world in which he had passed but little more than a twelve month.

Daph now set to work busily to fill a huge basket, which she brought from some place of deposit near at hand. The drawers of the bureau, and the contents of the elegant dressing-case she thoroughly over-hauled, making such selections as seemed to please her fancy, and being withal somewhat dainty in her choice. Children’s clothing, of the finest and best, formed the lowest layer in the basket; then followed a sprinkling of rings and necklaces, interspersed with the choice furniture of the rich dressing-case. Over all was placed a large light shawl, with its many soft folds, and then Daph viewed the success of her packing with much satisfaction.

Quietly and stealthily she approached the bed, where the little girl was sleeping so soundly that she did not wake, even when Daph lifted her in her strong arms, and laid her gently in the great basket,--the choicest treasure of all. In another moment the plump, rosy boy was lying with his fairy-like sister, in that strange resting-place. Daph looked at them, as they lay side by side, and a tear rolled over her dark cheeks, and, as it fell, sparkled in the moonlight.

The negro had taken up a white cloth, and was in the act of throwing it over the basket, when a small book, with golden clasps, suddenly caught her eye; rolling it quickly in a soft, rich veil, she placed it between the children, and her task was done.

It was but the work of a moment, to fasten on the cloth-covering with a stout string; then, with one strong effort, Daph stooped, took the basket on her head, and went forth from the door with as stately a step as if she wore a crown.

There was the bustle of departure, on board a Yankee schooner, which some hope of gain had brought to the southern island, named in our last chapter. The fresh and favorable breeze hurried the preparations of the sailors, as they moved about full of glad thoughts of return to their distant home.

The novel begins with a striking tableau: a "moonlight visitor"—Daph, a Black enslaved woman—enters the room of two sleeping white children, her "black face and gay turban" contrasting with their "fair" features. The narrative immediately poses a question: friend or enemy? This ambiguity, reinforced by Daph's self-reproach as a "foolish darky" and her administration of pills, sets up a tension between loyalty and potential harm that persists throughout the excerpts.

Baker's prose is sensory and deliberate: the "polished, un-carpeted floor," the "mosquito bar," and Daph's "white teeth in a grin" ground the scene in a specific Caribbean setting. The reader is invited to watch and wonder, much like the children who stir uneasily.

The Ambiguous Intruder

The opening chapter establishes Daph as both caretaker and cipher. Her whispered exclamation—"If I mus, I mus!"—suggests reluctant duty, while her attraction to her own reflection in the mirror hints at self-awareness and pride. The children, Charlie and Louise, are described as "like birds in pretty cages," a simile that underscores their vulnerability and the domestic confinement that pervades the story. Daph's pills, the moonlight, and the "cautious tread" all contribute to a mood of suspense that is never fully resolved in the excerpts; the reader must continue to discover whether her actions are protective or sinister.

Clues in Contrast: The Children and Their Guardian

Later excerpts deepen the mystery through the eyes of Dr. Bates, who observes "the refined appearance of the fair Louise and the noble bearing of little Charlie" alongside Daph's "unmistakable African face." The children's richly embroidered dresses and the expensive chains around Daph's neck—revealed when she is unconscious—create a puzzle of status and origin. Mrs. Ray, the landlady, recalls that the children were commended to her by a "tall sailor" three years prior, and that Daph has always been evasive about her past. These details, filtered through the doctor's "dark suspicion," invite the reader to piece together a backstory that the text withholds.

A Crisis and a Revelation

The middle excerpt presents a crisis: Daph collapses, and Dr. Bates must bleed her with a lancet. In her unconscious state, the chains are seen, and the sailor—Captain Jones—flees after a hasty farewell. The clock striking twelve and the captain's silver watch emphasize urgency. Daph's subsequent fever and anguish, her refusal of comfort, and the children's tears all signal a profound grief. The doctor's questioning of Mrs. Ray yields a fragmented account: the sailor was a mess-mate of her deceased husband, and Daph has lived an "honest, upright life" despite initial suspicions. The narrative thus layers doubt with evidence of integrity, leaving the reader to weigh conflicting impressions.

The Unraveling Thread

As the excerpts progress, the focus shifts from Daph's actions to the community's attempts to interpret them. Dr. Bates's lingering and questioning, Mrs. Ray's revived suspicions, and the children's innocent devotion all contribute to a web of conjecture. The title itself—"The Babes in the Basket"—suggests a hidden cargo or secret, but the excerpts do not reveal what the basket contains or how it is overturned. The reader is left with a series of vivid, unresolved images: the moonlight, the chains, the sailor's departure, and Daph's solitary sorrow. Baker's technique is to present evidence without explanation, trusting the reader to follow the clues.

Approaching this novel as a first-time reader, attend to the gaps. Baker withholds key information—Daph's past, the children's origins, the sailor's role—and instead offers sensory details and character reactions. The narrative voice is omniscient but restrained, posing questions ("Who was that dark intruder?") without immediate answers. Let the ambiguity guide your reading: each scene is a piece of a puzzle that the novel slowly assembles. The excerpts suggest a story about loyalty, secrecy, and the bonds between enslaved and free, but the full picture requires reading beyond the provided text.

There’s something tender about watching Daph step in and out of doubt, those children so neat they almost hide the weight they carry. It reminded me of another kind of waiting—the quiet suspense in The boys of Columbia High on the diamond — Text and Context, where secrets also sit just beneath the polish. I keep thinking how both books let suspicion breathe slowly, like an old friend's sigh.

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