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+The Project Gutenberg EBook of Negro Folk Rhymes, by Thomas W. Talley
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Negro Folk Rhymes
+       Wise and Otherwise: With a Study
+
+Author: Thomas W. Talley
+
+Release Date: November 7, 2008 [EBook #27195]
+
+Language: English
+
+Character set encoding: UTF-8
+
+*** START OF THIS PROJECT GUTENBERG EBOOK NEGRO FOLK RHYMES ***
+
+
+
+
+Produced by Audrey Longhurst, S.D. and the Online
+Distributed Proofreading Team at http://www.pgdp.net
+
+
+
+
+
+
++----------------------------------------------------------------------+
+
+Transcriber's Note: Other than the minor corrections and changes listed
+at the end of this text, all spelling and punctuation is as it appeared
+in the original. Musical notations appearing in the original book have
+been replaced with [music]. The placement of footnote markers was
+irregular in the original--this has been retained.
+
++----------------------------------------------------------------------+
+
+
+
+
+                       NEGRO FOLK RHYMES
+
+
+
+
+                     [Publisher's Device]
+
+                     THE MACMILLAN COMPANY
+              NEW YORK · BOSTON · CHICAGO · DALLAS
+                    ATLANTA · SAN FRANCISCO
+
+                    MACMILLAN & CO., Limited
+                   LONDON · BOMBAY · CALCUTTA
+                           MELBOURNE
+
+                THE MACMILLAN CO. OF CANADA, Ltd.
+                            TORONTO
+
+
+
+
+                       NEGRO FOLK RHYMES
+                      _Wise and Otherwise_
+
+                          WITH A STUDY
+
+                               BY
+                        THOMAS W. TALLEY,
+                       OF FISK UNIVERSITY
+
+                          [Decoration]
+
+                            New York
+                      THE MACMILLAN COMPANY
+                              1922
+
+                      _All rights reserved_
+
+
+              PRINTED IN THE UNITED STATES OF AMERICA
+
+
+                        Copyright, 1922,
+                    By THE MACMILLAN COMPANY.
+                             * * *
+            Set up and printed. Published January, 1922.
+
+
+                            Press of
+                  J. J. Little & Ives Company
+                        New York, U.S.A.
+
+
+
+
+INTRODUCTION
+
+
+Of the making of books by individual authors there is no end; but a
+cultivated literary taste among the exceptional few has rendered almost
+impossible the production of genuine folk-songs. The spectacle,
+therefore, of a homogeneous throng of partly civilized people dancing to
+the music of crude instruments and evolving out of dance-rhythm a
+lyrical or narrative utterance in poetic form is sufficiently rare in
+the nineteenth century to challenge immediate attention. In _Negro Folk
+Rhymes_ is to be found no inconsiderable part of the musical and poetic
+life-records of a people; the compiler presents an arresting volume
+which, in addition to being a pioneer and practically unique in its
+field, is as nearly exhaustive as a sympathetic understanding of the
+Negro mind, careful research, and labor of love can make it. Professor
+Talley of Fisk University has spared himself no pains in collecting and
+piecing together every attainable scrap and fragment of secular rhyme
+which might help in adequately interpreting the inner life of his own
+people.
+
+Being the expression of a race in, or just emerging from bondage, these
+songs may at first seem to some readers trivial and almost wholly devoid
+of literary merit. In phraseology they may appear crude, lacking in that
+elegance and finish ordinarily associated with poetic excellence; in
+imagery they are at times exceedingly winter-starved, mediocre, common,
+drab, scarcely ever rising above the unhappy environment of the singers.
+The outlook upon life and nature is, for the most part, one of
+imaginative simplicity and child-like naïveté; superstitions crowd in
+upon a worldly wisdom that is elementary, practical, and obvious; and a
+warped and crooked human nature, developed and fostered by
+circumstances, shows frequently through the lines. What else might be
+expected? At the time when these rhymes were in process of being created
+the conditions under which the American Negro lived and labored were not
+calculated to inspire him with a desire for the highest artistic
+expression. Restricted, cramped, bound in unwilling servitude, he looked
+about him in his miserable little world to see whatever of the beautiful
+or happy he might find; that which he discovered is pathetically slight,
+but, such as it is, it served to keep alive his stunted artist-soul
+under the most adverse circumstances. He saw the sweet pinks under a
+blue sky, or observed the fading violets and the roses that fall, as he
+passed to a tryst under the oak trees of a forest, and wrought these
+things into his songs of love and tenderness. Friendless and otherwise
+without companionship he lived in imagination with the beasts and birds
+of the great out-of-doors; he knew personally Mr. Coon, Brother Rabbit,
+Mr. 'Possum and their associates of the wild; Judge Buzzard and Sister
+Turkey appealed to his fancy as offering material for what he supposed
+to be poetic treatment. Wherever he might find anything in his lowly
+position which seemed to him truly useful or beautiful, he seized upon
+it and wove about it the sweetest song he could sing. The result is not
+so much poetry of a high order as a valuable illustration of the
+persistence of artist-impulses even in slavery.
+
+In some of these folk-songs, however, may be found certain qualities
+which give them dignity and worth. They are, when properly presented,
+rhythmical to the point of perfection. I myself have heard many of them
+chanted with and without the accompaniment of clapping hands, stamping
+feet, and swaying bodies. Unfortunately a large part of their liquid
+melody and flexibility of movement is lost through confinement in cold
+print; but when they are heard from a distance on quiet summer nights
+or clear Southern mornings, even the most fastidious ear is satisfied
+with the rhythmic pulse of them. That pathos of the Negro character
+which can never be quite adequately caught in words or transcribed in
+music is then augmented and intensified by the peculiar quality of the
+Negro voice, rich in overtones, quavering, weird, cadenced, throbbing
+with the sufferings of a race. Or perhaps that well-developed sense of
+humor which has, for more than a century, made ancestral sorrows
+bearable finds fuller expression in the lilting turn of a note than in
+the flashes of wit which abundantly enliven the pages of this volume.
+There is one lyric in particular which, in evident sincerity of feeling,
+simple and unaffected grace, and regularity of form, appeals to me as
+having intrinsic literary value:
+
+    She hug' me, an' she kiss' me,
+    She wrung my han' an' cried.
+    She said I wus de sweetes' thing
+    Dat ever lived or died.
+
+    She hug' me an' she kiss' me.
+    Oh Heaben! De touch o' her han'!
+    She said I wus de puttiest thing
+    In de shape o' mortal man.
+
+    I told her dat I love' her,
+    Dat my love wus bed-cord strong;
+    Den I axed her w'en she'd have me,
+    An' she jes' say, "Go 'long!"
+
+There is also a dramatic quality about many of these rhymes which must
+not be overlooked. It has long been my observation that the Negro is
+possessed by nature of considerable, though not as yet highly developed,
+histrionic ability; he takes delight in acting out in pantomime whatever
+he may be relating in song or story. It is not surprising, then, to find
+that the play-rhymes, originating from the "call" and "response," are
+really little dramas when presented in their proper settings. "Caught By
+The Witch" would not be ineffective if, on a dark night, it were acted
+in the vicinity of a graveyard! And one ballad--if I may be permitted to
+dignify it by that name--called "Promises of Freedom" is characterized
+by an unadorned narrative style and a dramatic ending which are
+associated with the best English folk-ballads. The singer tells simply
+and, one feels, with a grim impersonality of how his mistress promised
+to set him free; it seemed as if she would never die--but "she's somehow
+gone"! His master likewise made promises,
+
+    Yes, my ole Mosser promise' me;
+    But "his papers" didn't leave me free.
+    A dose of pizen he'pped 'im along.
+    May de Devil preach 'is fūner'l song.
+
+The manner of this conclusion is strikingly like that of the Scottish
+ballad, "Edward,"
+
+    The curse of hell frae me sall ye beir,
+              Mither, Mither,
+    The curse of hell frae me sall ye beir,
+    Sic counseils ye gave to me O.
+
+In both a story of cruelty is suggested in a single artistic line and
+ended with startling, dramatic abruptness.
+
+In fact, these two songs probably had their ultimate origin in not
+widely dissimilar types of illiterate, unsophisticated human society.
+Professor Talley's "Study in Negro Folk Rhymes," appended to this volume
+of songs, is illuminating. One may not be disposed to accept without
+considerable modification his theories entire; still his account from
+personal, first-hand knowledge of the beginnings and possible evolution
+of certain rhymes in this collection is apparently authentic. Here we
+have again, in the nineteenth century, the record of a singing, dancing
+people creating by a process approximating communal authorship a mass
+of verse embodying tribal memories, ancestral superstitions, and racial
+wisdom handed down from generation to generation through oral tradition.
+These are genuine folk-songs--lyrics, ballads, rhymes--in which are
+crystallized the thought and feeling, the universally shared lore of a
+folk. Recent theorizers on poetic origins who would insist upon
+individual as opposed to community authorship of certain types of
+song-narrative might do well to consider Professor Talley's
+characteristic study. And students of comparative literature who love to
+recreate the life of a tribe or nation from its song and story will
+discover in this collection a mine of interesting material.
+
+Fisk University, the center of Negro culture in America, is to be
+congratulated upon having initiated the gathering and preservation of
+these relics, a valuable heritage from the past. Just how important for
+literature this heritage may prove to be will not appear until this
+institution--and others with like purposes--has fully developed by
+cultivation, training, and careful fostering the artistic impulses so
+abundantly a part of the Negro character. A race which has produced,
+under the most disheartening conditions, a mass of folk-poetry such as
+_Negro Folk Rhymes_ may be expected to create with unlimited
+opportunities for self-development, a literature and a distinctive music
+of superior quality.
+
+                                                  WALTER CLYDE CURRY.
+
+  Vanderbilt University,
+  September 30, 1921.
+
+
+
+
+PART I
+
+NEGRO FOLK RHYMES
+
+
+
+
+DANCE RHYME SECTION
+
+
+JONAH'S BAND PARTY
+
+    Setch a kickin' up san'! Jonah's Ban'!
+    Setch a kickin' up san'! Jonah's Ban'!
+    "Han's up sixteen! Circle to de right!
+    We's gwine to git big eatin's here to-night."
+
+    Setch a kickin' up san'! Jonah's Ban'!
+    Setch a kickin' up san'! Jonah's Ban'!
+    "Raise yo' right foot, kick it up high,
+    Knock dat [1]Mobile Buck in de eye."
+
+    Setch a kickin' up san'! Jonah's Ban'!
+    Setch a kickin' up san'! Jonah's Ban'!
+    "Stan' up, flat foot, [1]Jump dem Bars!
+    [1]Karo back'ards lak a train o' kyars."
+
+    Setch a kickin' up san'! Jonah's Ban'!
+    Setch a kickin' up san'! Jonah's Ban'!
+    "Dance 'round, Mistiss, show 'em de p'int;
+    Dat Nigger don't know how to [1]Coonjaint."
+
+[1] These are dance steps. For explanation read the Study in Negro Folk
+Rhymes.
+
+
+LOVE IS JUST A THING OF FANCY
+
+    Love is jes a thing o' fancy,
+    Beauty's jes a blossom;
+    If you wants to git yō' finger bit,
+    Stick it at a 'possum.
+
+    Beauty, it's jes skin deep;
+    Ugly, it's to de bone.
+    Beauty, it'll jes fade 'way;
+    But Ugly'll hōl' 'er own.
+
+
+STILL WATER CREEK
+
+    'Way down yon'er on Still Water Creek,
+    I got stalded an' stayed a week.
+    I see'd Injun Puddin and Punkin pie,
+    But de black cat stick 'em in de yaller cat's eye.
+
+    'Way down yon'er on Still Water Creek,
+    De Niggers grows up some ten or twelve feet.
+    Dey goes to bed but dere hain't no use,
+    Caze deir feet sticks out fer de chickens t' roost.
+
+    I got hongry on Still Water Creek,
+    De mud to de hub an' de hoss britchin weak.
+    I stewed bullfrog chitlins, baked polecat pie;
+    If I goes back dar, I shō's gwine to die.
+
+
+'POSSUM UP THE GUM STUMP
+
+    'Possum up de gum stump,
+    Dat raccoon in de holler;
+    Twis' 'im out, an' git 'im down,
+    An' I'll gin you a half a doller.
+
+    'Possum up de gum stump,
+    Yes, cooney in de holler;
+    A pretty gal down my house
+    Jes as fat as she can waller.
+
+    'Possum up de gum stump,
+    His jaws is black an' dirty;
+    To come an' kiss you, pretty gal,
+    I'd run lak a gobbler tucky.
+
+    'Possum up de gum stump,
+    A good man's hard to fīn';
+    You'd better love me, pretty gal,
+    You'll git de yudder kīn'.
+
+
+JOE AND MALINDA JANE
+
+    Ole Joe jes swore upon 'is life
+    He'd make Merlindy Jane 'is wife.
+    W'en she hear 'im up 'is love an' tell,
+    She jumped in a bar'l o' mussel shell.
+    She scrape 'er back till de skin come off.
+    Nex' day she die wid de Whoopin' Cough.
+
+
+WALK, TALK, CHICKEN WITH YOUR HEAD PECKED!
+
+    Walk, talk, chicken wid yō' head pecked!
+    You can crow w'en youse been dead.
+    Walk, talk, chicken wid yō' head pecked!
+    You can hōl' high yō' bloody head.
+
+    You's whooped dat Blue Hen's Chicken,
+    You's beat 'im at his game.
+    If dere's some fedders on him,
+    Fer dat you's not to blame.
+
+    Walk, talk, chicken wid yō' head pecked!
+    You beat ole Johnny Blue!
+    Walk, talk, chicken wid yō' head pecked!
+    Say: "Cock-a-doo-dle-doo--!"
+
+
+TAILS
+
+    De coon's got a long ringed bushy tail,
+    De 'possum's tail is bare;
+    Dat rabbit hain't got no tail 'tall,
+    'Cep' a liddle bunch o' hair.
+
+    De gobbler's got a big fan tail,
+    De pattridge's tail is small;
+    Dat peacock's tail 's got great big eyes,
+    But dey don't see nothin' 'tall.
+
+
+CAPTAIN DIME
+
+    Cappun Dime is a fine w'ite man.
+    He wash his face in a fry'n' pan,
+    He comb his head wid a waggin wheel,
+    An' he die wid de toothache in his heel.
+
+    Cappun Dime is a mighty fine feller,
+    An' he shō' play kyards wid de Niggers in de cellar,
+    But he will git drunk, an' he won't smoke a pipe,
+    Den he will pull de watermillions 'fore dey gits ripe.
+
+
+CROSSING THE RIVER
+
+    I went down to de river an' I couldn' git 'cross.
+    I jumped on er mule an' I thought 'e wus er hoss.
+    Dat mule 'e wa'k in an' git mired up in de san';
+    You'd oughter see'd dis Nigger make back fer de lan'!
+
+    I want to cross de river but I caint git 'cross;
+    So I mounted on a ram, fer I thought 'e wus er hoss.
+    I plunged him in, but he sorter fail to swim;
+    An' I give five dollars fer to git 'im out ag'in.
+
+    Yes, I went down to de river an' I couldn' git 'cross,
+    So I give a whole dollar fer a ole blin' hoss;
+    Den I souzed him in an' he sink 'stead o' swim.
+    Do you know I got wet clean to my ole hat brim?
+
+
+T-U-TURKEY
+
+    T-u, tucky, T-u, ti.
+    T-u, tucky, buzzard's eye.
+    T-u, tucky, T-u, ting.
+    T-u, tucky, buzzard's wing.
+    Oh, Mistah Washin'ton! Don't whoop me,
+    Whoop dat Nigger Back 'hind dat tree.
+    He stole tucky, I didn' steal none.
+    Go wuk him in de co'n field jes fer fun.
+
+
+CHICKEN IN THE BREAD TRAY
+
+    "Auntie, will yō' dog bite?"--
+        "No, Chile! No!"
+    Chicken in de bread tray
+        A makin' up dough.
+
+    "Auntie, will yō' broom hit?"--
+        "Yes, Chile!" Pop!
+    Chicken in de bread tray;
+        "Flop! Flop! Flop!"
+
+    "Auntie, will yō' oven bake?"--
+        "Yes. Jes fry!"--
+    "What's dat chicken good fer?"--
+        "Pie! Pie! Pie!"
+
+    "Auntie, is yō' pie good?"--
+        "Good as you could 'spec'."
+    Chicken in de bread tray;
+        "Peck! Peck! Peck!"
+
+
+MOLLY COTTONTAIL, OR, GRAVEYARD RABBIT
+
+    Ole Molly Cottontail,
+    At night, w'en de moon's pale;
+    You don't fail to tu'n tail,
+    You always gives me leg bail.[2]
+
+    Molly in de Bramble-brier,
+    Let me git a little nigher;
+    Prickly-pear, it sting lak fire!
+    Do please come pick out de brier!
+
+    Molly in de pale moonlight,
+    Yō' tail is shō a pretty white;
+    You takes it fer 'way out'n sight.
+    "Molly! Molly! Molly Bright!"
+
+    Ole Molly Cottontail,
+    You sets up on a rotten rail!
+    You tears through de graveyard!
+    You makes dem ugly [3]hants wail.
+
+    Ole Molly Cottontail,
+    Won't you be shore not to fail
+    [4]To give me yō' right hīn' foot?
+    My luck, it won't be fer sale.
+
+[2] Leg bail = to run away.
+
+[3] Hants = ghosts or spirits.
+
+[4] This embraces the old superstition that carrying in one's pocket the
+right hind foot of a rabbit, which has habitually lived about a
+cemetery, brings good luck to its possessor.
+
+
+[5]JUBA
+
+    Juba dis, an' Juba dat,
+    Juba [6]skin dat Yaller Cat. Juba! Juba!
+
+    Juba jump an' Juba sing.
+    Juba, [6]cut dat Pigeon's Wing. Juba! Juba!
+
+    Juba, kick off Juba's shoe.
+    Juba, dance dat [6]Jubal Jew. Juba! Juba!
+
+    Juba, whirl dat foot about.
+    Juba, blow dat candle out. Juba! Juba!
+
+    Juba circle, [6]Raise de Latch.
+    Juba do dat [6]Long Dog Scratch. Juba! Juba!
+
+[5] This peculiar kind of dance rhyme is explained in the Study in Negro
+Folk Rhymes.
+
+[6] The expressions marked [6] are various kinds of dance steps.
+
+
+ON TOP OF THE POT
+
+    Wild goose gallop an' gander trot;
+    Walk about, Mistiss, on top o' de pot!
+
+    Hog jowl bilin', an' tunnup greens hot,
+    Walk about, Billie, on top o' de pot!
+
+    Chitlins, hog years, all on de spot,
+    Walk about, ladies, on top o' de pot!
+
+
+[7]STAND BACK, BLACK MAN
+
+    _Oh!_
+          Stan' back, black man,
+          You cain't shine;
+          Yō' lips is too thick,
+          An' you hain't my kīn'.
+
+    _Aw!_
+          Git 'way, black man,
+          You jes haint fine;
+          I'se done quit foolin'
+          Wid de nappy-headed kind.
+
+    _Say?_
+          Stan' back, black man!
+          Cain't you see
+          Dat a kinky-headed chap
+          Hain't nothin' side o' me?
+
+[7] In a few places in the South, just following the Civil War, the
+Mulattoes organized themselves into a little guild known as "The Blue
+Vein Circle," from which those who were black were excluded. This is one
+of their rhymes.
+
+
+NEGROES NEVER DIE
+
+    Nigger! Nigger never die!
+    He gits choked on Chicken pie.
+    Black face, white shiny eye. Nigger! Nigger!
+
+    Nigger! Nigger never knows!
+    Mashed nose, an' crooked toes;
+    Dat's de way de Nigger goes. Nigger! Nigger!
+
+    Nigger! Nigger always sing;
+    Jump up, cut de Pidgeon's wing;
+    Whirl, an' give his feet a fling. Nigger! Nigger!
+
+
+JAWBONE
+
+    Samson, shout! Samson, moan!
+    Samson, bring on yō' Jawbone.
+
+    Jawbone, walk! Jawbone, talk!
+    Jawbone, eat wid a knife an fo'k.
+
+    Walk, Jawbone! Jinny, come alon'!
+    Yon'er goes Sally wid de bootees on.
+
+    Jawbone, ring! Jawbone, sing!
+    Jawbone, kill dat wicked thing.
+
+
+INDIAN FLEA
+
+    Injun flea, bit my knee;
+    Kaze I wouldn' drink ginger tea.
+
+    Flea bite hard, flea bite quick;
+    Flea bite burn lak dat seed tick.
+
+    Hit dat flea, flea not dere.
+    I'se so mad I pulls my hair.
+
+    I go wild an' fall in de creek.
+    To wash 'im off, I'd stay a week.
+
+
+AS I WENT TO SHILOH
+
+    As I went down
+    To Shiloh Town;
+    I rolled my barrel of Sogrum down.
+    Dem lasses rolled;
+    An' de hoops, dey bust;
+    An' blowed dis Nigger clear to Thundergust!
+
+
+JUMP JIM CROW
+
+    Git fus upon yō' heel,
+    An' den upon yō' toe;
+    An ebry time you tu'n 'round,
+    You jump Jim Crow.
+
+    Now fall upon yō' knees,
+    Jump up an' bow low;
+    An' ebry time you tu'n 'round,
+    You jump Jim Crow.
+
+    Put yō' han's upon yō' hips,
+    Bow low to yō' beau;
+    An' ebry time you tu'n 'round,
+    You jump Jim Crow.
+
+
+
+
+DANCE RHYME SONG SECTION
+
+[music]
+
+
+JAYBIRD
+
+    De Jaybird jump from lim' to lim',
+    An' he tell Br'er Rabbit to do lak him.
+    Br'er Rabbit say to de cunnin' elf:
+    "You jes want me to fall an' kill myself."
+
+    Dat Jaybird a-settin' on a swingin' lim'.
+    He wink at me an' I wink at him.
+    He laugh at me w'en my gun "crack."
+    It kick me down on de flat o' my back.
+
+    Nex' day de Jaybird dance dat lim'.
+    I grabs my gun fer to shoot at him.
+    W'en I "crack" down, it split my chin.
+    "Ole Aggie Cunjer" fly lak sin.
+
+    Way down yon'er at de risin' sun,
+    Jaybird a-talkin' wid a forked tongue.
+    [8]He's been down dar whar de bad mens dwell.
+    "Ole Friday Devil," fare--you--well!
+
+[8] A superstition. For explanation, see Study in Negro Folk Rhymes.
+
+
+OFF FROM RICHMOND
+
+    I'se off from Richmon' sooner in de mornin'.
+    I'se off from Richmon' befō' de break o' day.
+    I slips off from Mosser widout pass an' warnin'
+    Fer I mus' see my Donie wharever she may stay.
+
+
+HE IS MY HORSE
+
+    One day as I wus a-ridin' by,
+    Said dey: "Ole man, yō' hoss will die"--
+         "If he dies, he is my loss;
+         An' if he lives, he is my hoss."
+
+    Nex' day w'en I come a-ridin' by,
+    Dey said: "Ole man, yō' hoss may die."--
+         "If he dies, I'll tan 'is skin;
+         An' if he lives, I'll ride 'im ag'in."
+
+    Den ag'in w'en I come a-ridin' by,
+    Said dey: "Ole man, yō' hoss mought die."--
+         "If he dies, I'll eat his co'n;
+         An' if he lives, I'll ride 'im on."
+
+
+[9]JUDGE BUZZARD
+
+    Dere sets Jedge Buzzard on de Bench.
+    Go tu'n him off wid a monkey wrench!
+    Jedge Buzzard try Br'er Rabbit's case;
+    An' he say Br'er Tarepin win dat race.
+    Here sets Jedge Buzzard on de Bench.
+    Knock him off wid dat monkey wrench!
+
+[9] See Study in Negro Rhymes for explanation.
+
+
+SHEEP AND GOAT
+
+    Sheep an' goat gwine to de paster;
+    Says de goat to de sheep: "Cain't you walk a liddle faster?"
+
+    De sheep says: "I cain't, I'se a liddle too full."
+    Den de goat say: "You can wid my ho'ns in yō' wool."
+
+    But de goat fall down an' skin 'is shin
+    An' de sheep split 'is lip wid a big broad grin.
+
+
+JACKSON, PUT THAT KETTLE ON!
+
+    Jackson, put dat kittle on!
+    Fire, steam dat coffee done!
+    Day done broke, an' I got to run
+    Fer to meet my gal by de risin' sun.
+
+    My ole Mosser say to me,
+    Dat I mus' drink [10]sassfac tea;
+    But Jackson stews dat coffee done,
+    An' he shō' gits his po'tion: Son!
+
+[10] Sassfac = sassafras.
+
+
+DINAH'S DINNER HORN
+
+    It's a cōl', frosty mornin',
+    An' de Niggers goes to wo'k;
+    Wid deir axes on deir shoulders,
+    An' widout a bit o' [11]shu't.
+
+    Dey's got ole husky ashcake,
+    Widout a bit o' fat;
+    An' de white folks'll grumble,
+    If you eats much o' dat.
+
+    I runs down to de henhouse,
+    An' I falls upon my knees;
+    It's 'nough to make a rabbit laugh
+    To hear my tucky sneeze.
+
+    I grows up on dem meatskins,
+    I comes down on a bone;
+    I hits dat co'n bread fifty licks,
+    I makes dat butter moan.
+
+    It's glory in yō' honor!
+    An' don't you want to go?
+    I sholy will be ready
+    Fer dat dinnah ho'n to blow.
+
+    Dat ole bell, it goes "Bangity--bang!"
+    Fer all dem white folks bo'n.
+    But I'se not ready fer to go
+    Till Dinah blows her ho'n.
+
+    "Poke--sallid!" "Poke--sallid!"
+    Dat ole ho'n up an' blow.
+    Jes think about dem good ole greens!
+    Say? Don't you want to go?
+
+[11] Shu't = shirt.
+
+
+MY MULE
+
+    Las' Saddy mornin' Mosser said:
+    "Jump up now, Sambo, out'n bed.
+    Go saddle dat mule, an' go to town;
+    An' bring home Mistiss' mornin' gown."
+
+    I saddled dat mule to go to town.
+    I mounted up an' he buck'd me down.
+    Den I jumped up from out'n de dust,
+    An' I rid him till I thought he'd bust.
+
+
+BULLFROG PUT ON THE SOLDIER CLOTHES
+
+    Bullfrog put on de soldier clo's.
+    He went down yonder fer to shoot at de crows;
+    Wid a knife an' a fo'k between 'is toes,
+    An' a white hankcher fer to wipe 'is nose.
+
+    Bullfrog put on de soldier clo's.
+    He's a "dead shore shot," gwineter kill dem crows.
+    He takes "Pot," an' "Skillet" from de Fiddler's Ball.
+    Dey're to dance a liddle jig while Jim Crow fall.
+
+    Bullfrog put on de soldier clo's.
+    He went down de river fer to shoot at de crows.
+    De powder flash, an' de crows fly 'way;
+    An' de Bullfrog shoot at 'em all nex' day.
+
+
+SAIL AWAY, LADIES!
+
+    Sail away, ladies! Sail away!
+    Sail away, ladies! Sail away!
+    Nev' min' what dem white folks say,
+    May de Mighty bless you. Sail away!
+
+    Nev' min' what yō' daddy say,
+    Shake yō' liddle foot an' fly away.
+    Nev' min' if yō' mammy say:
+    "De Devil'll git you." Sail away!
+
+
+THE BANJO PICKING
+
+    Hush boys! Hush boys! Don't make a noise,
+    While ole Mosser's sleepin'.
+    We'll run down de Graveyard, an' take out de bones,
+    An' have a liddle Banjer pickin'.
+
+    I takes my Banjer on a Sunday mornin'.
+    Dem ladies, dey 'vites me to come.
+    We slips down de hill an' picks de liddle chune:
+    "Walk, Tom Wilson Here Afternoon."
+
+    [12]"Walk Tom Wilson Here Afternoon";
+    "You Cain't Dance Lak ole Zipp Coon."
+    Pick [12]"Dinah's Dinner Ho'n" "Dance 'Round de Room."
+    "Sweep dat Kittle Wid a Bran' New Broom."
+
+[12] Those marked [12] are found elsewhere in this volume. We were
+unable to obtain the other three.
+
+
+OLD MOLLY HARE
+
+    Ole Molly har'!
+    What's you doin' thar?
+    "I'se settin' in de fence corner, smokin' seegyar."
+
+    Ole Molly har'!
+    What's you doin' thar?
+    "I'se pickin' out a br'or, settin' on a Pricky-p'ar."
+
+    Ole Molly har'!
+    What's you doin' thar?
+    "I'se gwine cross de Cotton Patch, hard as I can t'ar."
+
+    Molly har' to-day,
+    So dey all say,
+    Got her pipe o' clay, jes to smoke de time 'way.
+
+    "De dogs say 'boo!'
+    An' dey barks too,
+    I hain't got no time fer to talk to you."
+
+
+ONE NEGRO TUNE USED WITH "AN OPOSSUM HUNT"
+
+[music]
+
+
+AN OPOSSUM HUNT
+
+    'Possum meat is good an' sweet,
+    I always finds it good to eat.
+    My dog tree, I went to see.
+    A great big 'possum up dat tree.
+    I retch up an' pull him in,
+    Den dat ole 'possum 'gin to grin.
+
+    I tuck him home an' dressed him off,
+    Dat night I laid him in de fros'.
+    De way I cooked dat 'possum sound,
+    I fust parboiled, den baked him brown.
+    I put sweet taters in de pan,
+    'Twus de bigges' eatin' in de lan'.
+
+
+DEVILISH PIGS
+
+    I wish I had a load o' poles,
+    To fence my new-groun' lot;
+    To keep dem liddle bitsy debblish pigs
+    Frum a-rootin' up all I'se got.
+
+    Dey roots my cabbage, roots my co'n;
+    Dey roots up all my beans.
+    Dey speilt my fine sweet-tater patch,
+    An' dey ruint my tunnup greens.
+
+    I'se rund dem pigs, an' I'se rund dem pigs.
+    I'se gittin' mighty hot;
+    An' one dese days w'en nobody look,
+    Dey'll root 'round in my pot.
+
+
+PROMISES OF FREEDOM
+
+    My ole Mistiss promise me,
+    W'en she died, she'd set me free.
+    She lived so long dat 'er head got bal',
+    An' she give out'n de notion a dyin' at all.
+
+    My ole Mistiss say to me:
+    "Sambo, I'se gwine ter set you free."
+    But w'en dat head git slick an' bal',
+    De Lawd couldn' a' killed 'er wid a big green maul.
+
+    My ole Mistiss never die,
+    Wid 'er nose all hooked an' skin all dry.
+    But my ole Miss, she's somehow gone,
+    An' she lef' "Uncle Sambo" a-hillin' up co'n.
+
+    Ole Mosser lakwise promise me,
+    W'en he died, he'd set me free.
+    But ole Mosser go an' make his Will
+    Fer to leave me a-plowin' ole Beck still.
+
+    Yes, my ole Mosser promise me;
+    But "his papers" didn' leave me free.
+    A dose of pizen he'ped 'im along.
+    May de Devil preach 'is fūner'l song.
+
+
+WHEN MY WIFE DIES
+
+    W'en my wife dies, gwineter git me anudder one;
+    A big fat yaller one, jes lak de yudder one.
+    I'll hate mighty bad, w'en she's been gone.
+    Hain't no better 'oman never nowhars been bo'n.
+
+    W'en I comes to die, you mus'n' bury me deep,
+    But put Sogrum molasses close by my feet.
+    Put a pone o' co'n bread way down in my han'.
+    Gwineter sop on de way to de Promus' Lan'.
+
+    W'en I goes to die, Nobody mus'n' cry,
+    Mus'n' dress up in black, fer I mought come back.
+    But w'en I'se been dead, an' almos' fergotten;
+    You mought think about me an' keep on a-trottin'.
+
+    Railly, w'en I'se been dead, you needn' bury me at tall.
+    You mought pickle my bones down in alkihall;
+    Den fold my han's "so," right across my breas';
+    An' go an' tell de folks I'se done gone to "res'."
+
+
+ONE TUNE USED WITH "BAA! BAA! BLACK SHEEP!"
+
+[music]
+
+
+BAA! BAA! BLACK SHEEP
+
+    "Baa! Baa! Black Sheep,
+    Has you got wool?"
+    "Yes, good Mosser,
+    Free bags full.
+    One fer ole Mistis,
+    One fer Miss Dame,
+    An' one fer de good Nigger
+    Jes across de lane."
+    Pōōr liddle Black Sheep,
+    Pōōr liddle lammy;
+    Pōōr liddle Black Sheep's
+    Got no mammy.
+
+
+HE WILL GET MR. COON
+
+    Ole Mistah Coon, at de break o' day,
+    You needn' think youse gwineter git 'way.
+    Caze ole man Ned, he know how to run,
+    An' he's shō' gone fer to git 'is gun.
+
+    You needn' clam to dat highes' lim',
+    You cain't git out'n de retch o' him.
+    You can stay up dar till de sun done set.
+    I'll bet you a dollar dat he'll git you yet.
+
+    Ole Mistah Coon, you'd well's to give up.
+    You had well's to give up, I say.
+    Caze ole man Ned is straight atter you,
+    An' he'll git you shō' this day.
+
+
+BRING ON YOUR HOT CORN
+
+    Bring along yō' hot co'n,
+    Bring along yō' col' co'n;
+    But I say bring along,
+    Bring along yō' [13]Jimmy-john.
+
+    Some loves de hot co'n,
+    Some loves de col' co'n;
+    But I loves, I loves,
+    I loves dat Jimmy-john.
+
+[13] Jimmy-john = a whiskey jug.
+
+
+THE LITTLE ROOSTER
+
+    I had a liddle rooster,
+    He crowed befō' day.
+    'Long come a big owl,
+    An' toted him away.
+
+    But de rooster fight hard,
+    An' de owl let him go.
+    Now all de pretty hens
+    Wants dat rooster fer deir beau.
+
+
+SUGAR IN COFFEE
+
+    Sheep's in de meader a-mowin' o' de hay.
+    De honey's in de bee-gum, so dey all say.
+    My head's up an' I'se boun' to go.
+    Who'll take sugar in de coffee-o?
+
+    I'se de prettiest liddle gal in de county-o.
+    My mammy an' daddy, dey bofe say so.
+    I looks in de glass, it don't say, "No";
+    So I'll take sugar in de coffee-o.
+
+
+[14]THE TURTLE'S SONG
+
+    Mud turkle settin' on de end of a log,
+    A-watchin' of a tadpole a-turnin' to a frog.
+    He sees Br'er B'ar a-pullin' lak a mule.
+    He sees Br'er Tearpin a-makin' him a fool.
+
+    Br'er B'ar pull de rope an' he puff an' he blow;
+    But he cain't git de Tearpin out'n de water from below.
+    Dat big clay root is a-holdin' dat rope,
+    Br'er Tearpin's got 'im fooled, an' dere hain't no hope.
+
+    Mud turkle settin' on de end o' dat log;
+    Sing fer de tadpole a-turnin' to a frog,
+    Sing to Br'er B'ar a-pullin' lak a mule,
+    Sing to Br'er Tearpin a-makin' 'im a fool:--
+
+    "Oh, Br'er Rabbit! Yō' eyes mighty big!"
+    "Yes, Br'er Turkle! Dey're made fer to see."
+    "Oh, Br'er Tearpin! Yō' house mighty cu'ous!"
+    "Yes, Br'er Turkle, but it jest suits me."
+
+    "Oh, Br'er B'ar! You pulls mighty stout."
+    "Yes, Br'er Turkle! Dat's right smart said!"
+    "Right, Br'er B'ar! Dat sounds bully good,
+    But you'd oughter git a liddle mō' pull in de head."
+
+[14] For explanation see Study in Negro Folk Rhymes.
+
+
+RACCOON AND OPOSSUM FIGHT
+
+    De raccoon an' de 'possum
+    Under de hill a-fightin';
+    Rabbit almos' bust his sides
+    Laughin' at de bitin'.
+
+    De raccoon claw de 'possum
+    Along de ribs an' head;
+    'Possum tumble over an' grin,
+    Playin' lak he been dead.
+
+
+COTTON EYED JOE
+
+    Hol' my fiddle an' hol' my bow,
+    Whilst I knocks ole Cotton Eyed Joe.
+
+    I'd a been dead some seben years ago,
+    If I hadn' a danced dat Cotton Eyed Joe.
+
+    Oh, it makes dem ladies love me so,
+    W'en I comes 'roun' pickin' ole Cotton Eyed Joe!
+
+    Yes, I'd a been married some forty year ago,
+    If I hadn' stay'd 'roun' wid Cotton Eyed Joe.
+
+    I hain't seed ole Joe, since way las' Fall;
+    Dey say he's been sol' down to Guinea Gall.
+
+
+RABBIT SOUP
+
+    Rabbit soup! Rabbit sop!
+    Rabbit e't my tunnup top.
+
+    Rabbit hop, rabbit jump,
+    Rabbit hide behin' dat stump.
+
+    Rabbit stop, twelve o'clock,
+    Killed dat rabbit wid a rock.
+
+    Rabbit's mine. Rabbit's skin'.
+    Dress 'im off an' take 'im in.
+
+    Rabbit's on! Dance an' whoop!
+    Makin' a pot o' rabbit soup!
+
+
+OLD GRAY MINK
+
+    I once did think dat I would sink,
+    But you know I wus dat ole gray mink.
+
+    Dat ole gray mink jes couldn' die,
+    W'en he thought about good chicken pie.
+
+    He swum dat creek above de mill,
+    An' he's killing an' eatin' chicken still.
+
+
+RUN, NIGGER, RUN!
+
+    Run, Nigger, run! De [15]Patter-rollers'll ketch you.
+    Run, Nigger, run! It's almos' day.
+
+    Dat Nigger run'd, dat Nigger flew,
+    Dat Nigger tore his shu't in two.
+
+    All over dem woods and frou de paster,
+    Dem Patter-rollers shot; but de Nigger git faster,
+
+    Oh, dat Nigger whirl'd, dat Nigger wheel'd,
+    Dat Nigger tore up de whole co'n field.
+
+[15] Patrollers, or white guards; on duty at night during the days of
+slavery; whose duty it was to see that slaves without permission to go,
+stayed at home.
+
+
+SHAKE THE PERSIMMONS DOWN
+
+    De raccoon up in de 'simmon tree.
+    Dat 'possum on de groun'.
+    De 'possum say to de raccoon: "Suh!"
+    "Please shake dem 'simmons down."
+
+    De raccoon say to de 'possum: "Suh!"
+    (As he grin from down below),
+    "If you wants dese good 'simmons, man,
+    Jes clam up whar dey grow."
+
+
+THE COW NEEDS A TAIL IN FLY-TIME
+
+    Dat ole black sow, she can root in de mud,
+    She can tumble an' roll in de slime;
+    But dat big red cow, she git all mired up,
+    So dat cow need a tail in fly-time.
+
+    Dat ole gray hoss, wid 'is ole bob tail,
+    You mought buy all 'is ribs fer a dime;
+    But dat ole gray hoss can git a kiver on,
+    Whilst de cow need a tail in fly-time.
+
+    Dat Nigger Overseer, dat's a-ridin' on a mule,
+    Cain't make hisse'f white lak de lime;
+    Mosser mought take 'im down fer a notch or two,
+    Den de cow'd need a tail in fly-time.
+
+
+JAYBIRD DIED WITH THE WHOOPING COUGH
+
+    De Jaybird died wid de Whoopin' Cough,
+    De Sparrer died wid de colic;
+    'Long come de Red-bird, skippin' 'round,
+    Sayin': "Boys, git ready fer de Frolic!"
+
+    De Jaybird died wid de Whoopin' Cough,
+    De Bluebird died wid de Measles;
+    'Long come a Nigger wid a fiddle on his back,
+    'Vitin' Crows fer to dance wid de Weasels.
+
+    Dat Mockin'-bird, he romp an' sing;
+    Dat ole Gray Goose come prancin'.
+    Dat Thrasher stuff his mouf wid plums,
+    Den he caper on down to de dancin'.
+
+    Dey hopped it low, an' dey hopped it high;
+    Dey hopped it to, an' dey hopped it by;
+    Dey hopped it fer, an' dey hopped it nigh;
+    Dat fiddle an' bow jes make 'em fly.
+
+
+WANTED! CORNBREAD AND COON
+
+    I'se gwine now a-huntin' to ketch a big fat coon.
+    Gwineter bring him home, an' bake him, an' eat him wid a spoon.
+    Gwineter baste him up wid gravy, an' add some onions too.
+    I'se gwineter shet de Niggers out, an' stuff myse'f clean through.
+
+    I wants a piece o' hoecake; I wants a piece o' bread,
+    An' I wants a piece o' Johnnycake as big as my ole head.
+    I wants a piece o' ash cake: I wants dat big fat coon!
+    An' I shō' won't git hongry 'fore de middle o' nex' June.
+
+
+LITTLE RED HEN
+
+    My liddle red hen, wid a liddle white foot,
+    Done built her nes' in a huckleberry root.
+    She lay mō' aigs dan a flock on a fahm.
+    Anudder liddle drink wouldn' do us no harm.
+
+    My liddle red hen hatch fifty red chicks
+    In dat liddle ole nes' of huckleberry sticks.
+    Wid one mō' drink, ev'y chick'll make two!
+    Come, bring it on, Honey, an' let's git through.
+
+
+RATION DAY
+
+    Dat ration day come once a week,
+    Ole Mosser's rich as Gundy;
+    But he gives us 'lasses all de week,
+    An' buttermilk fer Sund'y.
+
+    Ole Mosser give me a pound o' meat.
+    I e't it all on Mond'y;
+    Den I e't 'is 'lasses all de week,
+    An' buttermilk fer Sund'y.
+
+    Ole Mosser give me a peck o' meal,
+    I fed and cotch my tucky;
+    But I e't dem 'lasses all de week,
+    An' buttermilk fer Sund'y.
+
+    Oh laugh an' sing an' don't git tired.
+    We's all gwine home, some Mond'y,
+    To de honey ponds an' fritter trees;
+    An' ev'ry day'll be Sund'y.
+
+
+MY FIDDLE
+
+    If my ole fiddle wus jes in chune,
+    She'd bring me a dollar ev'y Friday night in June.
+    W'en my ole fiddle is fixed up right,
+    She bring me a dollar in nearly ev'y night.
+    W'en my ole fiddle begin to sing,
+    She make de whole plantation ring.
+    She bring me in a dollar an' sometime mō'.
+    Hurrah fer my ole fiddle an' bow!
+
+
+DIE IN THE PIG-PEN FIGHTING
+
+    Dat ole sow said to de barrer:
+    "I'll tell you w'at let's do:
+    Let's go an' git dat broad-axe
+    And die in de pig-pen too."
+
+    "Die in de pig-pen fightin'!
+    Yes, die, die in de wah!
+    Die in de pig-pen fightin',
+    Yes, die wid a bitin' jaw!"
+
+
+MASTER IS SIX FEET ONE WAY
+
+    Mosser is six foot one way, an' free foot tudder;
+    An' he weigh five hunderd pound.
+    Britches cut so big dat dey don't suit de tailor,
+    An' dey don't meet half way 'round.
+
+    Mosser's coat come back to a claw-hammer p'int.
+    (Speak sof' or his Bloodhound'll bite us.)
+    His long white stockin's mighty clean an' nice,
+    But a liddle mō' holier dan righteous.
+
+
+FOX AND GEESE
+
+    Br'er Fox wa'k out one moonshiny night,
+    He say to hisse'f w'at he's a gwineter do.
+    He say, "I'se gwineter have a good piece o' meat,
+    Befō' I leaves dis townyoo.
+    Dis townyoo, dis townyoo!
+    Yes, befō' I leaves dis townyoo!"
+
+    Ole mammy Sopentater jump up out'n bed,
+    An' she poke her head outside o' de dō'.
+    She say: "Ole man, my gander's gone.
+    I heared 'im w'en he holler 'quinny-quanio,'
+    'Quinny-quanio, quinny-quanio!'
+    Yes, I heared 'im w'en he holler 'quinny-quanio.'"
+
+
+GOOSEBERRY WINE
+
+      Now 'umble Uncle Steben,
+      I wonders whar youse gwine?
+      Don't never tu'n yō' back, Suh,
+      On dat good ole gooseberry wine!
+
+      Oh walk chalk, Ginger Blue!
+      Git over double trouble.
+      You needn' min' de wedder
+      So's de win' don't blow you double.
+
+    _Now!_
+      Uncle Mack! Uncle Mack!
+      Did you ever see de lak?
+      Dat good ole sweet gooseberry wine
+      Call Uncle Steben back.
+
+
+I'D RATHER BE A NEGRO THAN A POOR WHITE MAN
+
+          My name's Ran, I wuks in de san';
+          But I'd druther be a Nigger dan a pō' white man.
+
+          Gwineter hitch my oxes side by side,
+          An' take my gal fer a big fine ride.
+
+          Gwineter take my gal to de country stō';
+          Gwineter dress her up in red calico.
+
+          You take Kate, an' I'll take Joe.
+          Den off we'll go to de pahty-o.
+
+          Gwineter take my gal to de Hullabaloo,
+          Whar dere hain't no [16]Crackers in a mile or two.
+
+    _Interlocution_:
+
+          (Fiddler) "Oh, Sal! Whar's de milk
+               strainer cloth?"
+
+          (Banjo Picker) "Bill's got it wropped
+              'round his ole sore leg."
+
+          (Fiddler) "Well, take it down to de
+              gum spring an' give it a cold water
+              rench; I 'spizes nastness anyway.
+              I'se got to have a clean
+              cloth fer de milk."
+
+          He don't lak whisky but he jest drinks a can.
+          Honey! I'd druther be a Nigger dan a pō' white man.
+
+          I'd druther be a Nigger, an' plow ole Beck
+          Dan a white [16]Hill Billy wid his long red neck.
+
+[16] Names applied by Negroes to the poorer class of white people in the
+South.
+
+
+THE HUNTING CAMP
+
+    Sam got up one mornin'
+    A mighty big fros'.
+    Saw "A louse, in de huntin' camp
+    As big as any hoss!"
+
+    Sam run 'way down de mountain;
+    But w'en Mosser got dar,
+    He swore it twusn't nothin'
+    But a big black b'ar.
+
+
+THE ARK
+
+    Ole Nora had a lots o' hands
+    A clearin' new ground patches.
+    He said he's gwineter build a Ark,
+    An' put tar on de hatches.
+
+    He had a sassy Mo'gan hoss
+    An' gobs of big fat cattle;
+    An' he driv' em all aboard de Ark,
+    W'en he hear de thunder rattle.
+
+    An' den de river riz so fas'
+    Dat it bust de levee railin's.
+    De lion got his dander up,
+    An' he lak to a broke de palin's.
+
+    An' on dat Ark wus daddy Ham;
+    No udder Nigger on dat packet.
+    He soon got tired o' de Barber Shop,
+    Caze he couln' stan' de racket.
+
+    An' den jes to amuse hisse'f,
+    He steamed a board an' bent it, Son.
+    Dat way he got a banjer up,
+    Fer ole Ham's de fust to make one.
+
+    Dey danced dat Ark from ēen to ēen,
+    Ole Nora called de Figgers.
+    Ole Ham, he sot an' knocked de chunes,
+    De happiest of de Niggers.
+
+
+GRAY AND BLACK HORSES
+
+    I went down to de woods an' I couldn' go 'cross,
+    So I paid five dollars fer an ole gray hoss.
+    De hoss wouldn' pull, so I sōl' 'im fer a bull.
+    De bull wouldn' holler, so I sōl' 'im fer a dollar.
+    De dollar wouldn' pass, so I throwed it in de grass.
+    Den de grass wouldn' grow. Heigho! Heigho!
+
+    Through dat huckleberry woods I couldn' git far,
+    So I paid a good dollar fer an ole black mar'.
+    W'en I got down dar, de trees wouldn' bar;
+    So I had to gallop back on dat ole black mar'.
+    "Bookitie-bar!" Dat ole black mar'; "Bookitie-bar!" Dat ole black mar'.
+    Yes she trabble so hard dat she jolt off my ha'r.
+
+
+RATTLER
+
+    Go call ole Rattler from de bo'n.
+    Here Rattler! Here!
+    He'll drive de cows out'n de co'n,
+    Here Rattler! Here!
+
+    Rattler is my huntin' dog.
+    Here Rattler! Here!
+    He's good fer rabbit, good fer hog,
+    Here Rattler! Here!
+
+    He's good fer 'possum in de dew.
+    Here Rattler! Here!
+    Sometimes he gits a chicken, too.
+    Here Rattler! Here!
+
+
+BROTHER BEN AND SISTER SAL
+
+    Ole Br'er Ben's a mighty good ole man,
+    He don't steal chickens lak he useter.
+    He went down de chicken roos' las' Friday night,
+    An' tuck off a dominicker rooster.
+
+    Dere's ole Sis Sal, she climbs right well,
+    But she cain't 'gin to climb lak she useter.
+    So yonder she sets a shellin' out co'n
+    To Mammy's ole bob-tailed rooster.
+
+    Yes, ole Sis Sal's a mighty fine ole gal,
+    She's shō' extra good an' clever.
+    She's done tuck a notion all her own,
+    Dat she hain't gwineter marry never.
+
+    Ole Sis Sal's got a foot so big,
+    Dat she cain't wear no shoes an' gaiters.
+    So all she want is some red calico,
+    An' dem big yaller yam sweet taters.
+
+    Now looky, looky here! Now looky, looky there!
+    Jes looky!--Looky 'way over yonder!--
+    Don't you see dat ole gray goose
+    A-smilin' at de gander?
+
+
+SIMON SLICK'S MULE
+
+    Dere wus a liddle kickin' man,
+    His name wus Simon Slick.
+    He had a mule wid cherry eyes.
+    Oh, how dat mule could kick!
+
+    An', Suh, w'en you go up to him,
+    He shet one eye an' smile;
+    Den 'e telegram 'is foot to you,
+    An' sen' you half a mile!
+
+
+NOBODY LOOKING
+
+    Well: I look dis a way, an' I look dat a way,
+          An' I heared a mighty rumblin'.
+          W'en I come to find out, 'twus dad's black sow,
+          A-rootin' an' a-grumblin'.
+
+    Den:  I slipped away down to de big White House.
+          Miss Sallie, she done gone 'way.
+          I popped myse'f in de rockin' chear,
+          An' I rocked myse'f all day.
+
+    Now:  I looked dis a way, an' I looked dat a way,
+          An' I didn' see nobody in here.
+          I jes run'd my head in de coffee pot,
+          An' I drink'd up all o' de beer.
+
+
+HOECAKE
+
+    If you wants to bake a hoecake,
+    To bake it good an' done;
+    Jes' slap it on a Nigger's heel,
+    An' hol' it to de sun.
+
+    Dat snake, he bake a hoecake,
+    An' sot de toad to mind it;
+    Dat toad he up an' go to sleep,
+    An' a lizard slip an' find it!
+
+    My mammy baked a hoecake,
+    As big as Alabamer.
+    She throwed it 'g'inst a Nigger's head
+    An' it ring jes' lak a hammer.
+
+    De way you bakes a hoecake,
+    In de ole Virginy 'tire;
+    You wrops it 'round a Nigger's heel,
+    An' hōl's it to de fire.
+
+
+I WENT DOWN THE ROAD
+
+               I went down de road,
+               I went in a whoop;
+               An' I met Aunt Dinah
+               Wid a chicken pot o' soup.
+    Sing: "I went away from dar; hook-a-doo-dle, hook-a-doo-dle."
+          "I went away from dar; hook-a-doo-dle-doo!"
+               I drunk up dat soup,
+               An' I let her go by;
+               An' I tōl' her nex' time
+               To bring Missus' pot pie.
+    Sing: "Oh far'-you-well; hook-a-doo-dle, hook-a-doo-dle;
+          Oh far'-you-well, an' a hook-a-doo-dle-doo!"
+
+
+THE OLD HEN CACKLED
+
+    De ole hen she cackled,
+    An' stayed down in de bo'n.
+    She git fat an' sassy,
+    A-eatin' up de co'n.
+
+    De ole hen she cackled,
+    Git great long yaller laigs.
+    She swaller down de oats,
+    But I don't git no aigs.
+
+    De ole hen she cackled,
+    She cackled in de lot,
+    De nex' time she cackled,
+    She cackled in de pot.
+
+
+I LOVE SOMEBODY
+
+    I loves somebody, yes, I do;
+    An' I wants somebody to love me too.
+    Wid my chyart an' oxes stan'in' 'roun',
+    Her pretty liddle foot needn' tetch de groun'.
+
+    I loves somebody, yes, I do,
+    Dat randsome, handsome, Stickamastew.
+    Wid her reddingoat an' waterfall,
+    She's de pretty liddle gal dat beats 'em all.
+
+
+WE ARE "ALL THE GO"
+
+    Yes!   We's "All-de-go," boys; we's "All-de-go."
+           Me an' my Lulu gal's "All-de-go."
+            I jes' loves my sweet pretty liddle Lulu Ann,
+              But de way she gits my money I cain't hardly understan'.
+              W'en she up an' call me "Honey!" I fergits my name is Sam,
+              An' I hain't got one nickel lef' to git a me a dram.
+
+    Still: We's "All-de-go," boys; we's "All-de-go."
+           Me an' my Lulu gal's "All-de-go."
+            She's always gwine a-fishin', w'en she'd oughter not to go;
+              An' now she's all a troubled wid de frostes an' de snow.
+              I tells you jes one thing dat I'se done gone an' foun':
+              De Nigs cain't git no livin' 'round de Cō't House steps
+                                                             an' town.
+
+
+AUNT DINAH DRUNK
+
+    Ole Aunt Dinah, she got drunk.
+    She fell in de fire, an' she kicked up a chunk.
+    Dem embers got in Aunt Dinah's shoe,
+    An' dat black Nigger shō' got up an' flew.
+
+    I likes Aunt Dinah mighty, mighty well,
+    But dere's jes' one thing I hates an' 'spize:
+    She drinks mō' whisky dan de bigges' fool,
+    Den she up an' tell ten thousand lies.
+
+    Yes, I won't git drunk an' kick up a chunk.
+         I won't git drunk an' kick up a chunk.
+         I won't git drunk an' kick up a chunk,
+         'Way down on de ole Plank Road.
+         Oh shoo my Love! My turkle dove.
+         Oh shoo my Love! My turkle dove.
+         Oh shoo my Love! My turkle dove.
+         'Way down on de ole Plank Road.
+
+
+THE OLD WOMAN IN THE HILLS
+
+    Once: Dere wus an ole 'oman
+          Dat lived in de hills;
+          Put rocks in 'er stockin's,
+          An' sent 'em to mill.
+
+    Den:  De ole miller swore,
+          By de pint o' his knife;
+          Dat he never had ground up
+          No rocks in his life.
+
+    So:   De ole 'oman said
+          To dat miller nex' day:
+          "You railly must 'scuse me,
+          It's de onliest way."
+
+          "I heared you made meal,
+          A-grindin' on stones.
+          I mus' 'ave heared wrong,
+          It mus' 'ave been bones."
+
+
+A SICK WIFE
+
+    Las' Sadday night my wife tuck sick,
+    An' what d'you reckon ail her?
+    She e't a tucky gobbler's head
+    An' her stomach, it jes' fail her.
+
+    She squall out: "Sam, bring me some mint!
+    Make catnip up an' sage tea!"
+    I goes an' gits her all dem things,
+    But she throw 'em back right to me.
+
+    Says I: "Dear Honey! Mind nex' time!"
+            "Don't eat from 'A to Izzard'"
+            "I thinks you won' git sick at all,
+            If you saves pō' me de gizzard."
+
+
+MY WONDERFUL TRAVEL
+
+          I come down from ole Virginny,
+          'Twas on a Summer day;
+          De wedder was all frez up,
+          'An' I skeeted all de way!
+
+    _Interlocution_:
+
+          Hand my banjer down to play,
+          Wanter pick fer dese ladies right away;
+
+          "W'en dey went to bed,
+          Dey couldn' shet deir eyes,"
+          An' "Dey was stan'in' on deir heads,
+          A-pickin' up de pies."
+
+
+[17]I WOULD NOT MARRY A BLACK GIRL
+
+    I wouldn' marry a black gal,
+    I'll tell you de reason why:
+    When she goes to comb dat head
+    De naps'll 'gin to fly.
+
+    I wouldn' marry a black gal,
+    I'll tell you why I won't:
+    When she'd oughter wash her face--
+    Well, I'll jes say she don't.
+
+    I woudn' marry a black gal,
+    An' dis is why I say:
+    When you has her face around,
+    It never gits good day.
+
+[17] For discussion see Study in Negro Folk Rhymes.
+
+
+HARVEST SONG
+
+    Las' year wus a good crap year,
+    An' we raised beans an' 'maters.
+    We didn' make much cotton an' co'n;
+    But, Goodness Life, de taters!
+
+    You can plow dat ole gray hoss,
+    I'se gwineter plow dat mulie;
+    An' w'en we's geddered in de craps,
+    I'se gwine down to see Julie.
+
+    I hain't gwineter wo'k on de railroad.
+    I hates to wo'k on de fahm.
+    I jes wants to set in de cool shade,
+    Wid my head on my Julie's ahm.
+
+    You swing Lou, an' I'll swing Sue.
+    Dere hain't no diffunce 'tween dese two.
+    You swing Lou, I'll swing my beau;
+    I'se gwineter buy my gal red calico.
+
+
+YEAR OF JUBILEE
+
+    Niggers, has you seed ole Mosser;
+    (Red mustache on his face.)
+    A-gwine 'roun' sometime dis mawnin',
+    'Spectin' to leave de place?
+
+    Nigger Hands all runnin' 'way,
+    Looks lak we mought git free!
+    It mus' be now de [18]Kingdom Come
+    In de Year o' Jubilee.
+
+    Oh, yon'er comes ole Mosser
+    Wid his red mustache all white!
+    It mus' be now de Kingdom Come
+    Sometime to-morrer night.
+
+    Yanks locked him in de smokehouse cellar,
+    De key's throwed in de well:
+    It shō' mus' be de Kingdom Come.
+    Go ring dat Nigger field-bell!
+
+[18] Kingdom Come = Freedom.
+
+
+SHEEP SHELL CORN
+
+    _Oh_: De Ram blow de ho'n an' de sheep shell co'n;
+    An' he sen' it to de mill by de buck-eyed Whippoorwill.
+    Ole Joe's dead an' gone but his [19]Hant blows de ho'n;
+    An' his hound howls still from de top o' dat hill.
+
+    _Yes_: De Fish-hawk said unto Mistah Crane;
+    "I wishes to de Lawd dat you'd sen' a liddle rain;
+    Fer de water's all muddy, an de creek's gone dry;
+    If it 'twasn't fer de tadpoles we'd all die."
+
+    _Oh_: When de sheep shell co'n wid de rattle of his ho'n
+    I wishes to de Lawd I'd never been bo'n;
+    Caze when de Hant blows de ho'n, de sperits all dance,
+    An' de hosses an' de cattle, dey whirls 'round an' prance.
+
+    _Oh_: Yonder comes Skillet an' dere goes Pot;
+    An' here comes Jawbone 'cross de lot.
+    Walk Jawbone! Beat de Skillet an' de Pan!
+    You cut dat Pigeon's Wing, Black Man!
+
+    _Now_: Take keer, gemmuns, an' let me through;
+    Caze I'se gwineter dance wid liddle Mollie Lou.
+    But I'se never seed de lak since I'se been bo'n,
+    When de sheep shell co'n wid de rattle of his ho'n!
+
+[19] Hant = spirit or ghost.
+
+
+PLASTER
+
+    Chilluns:
+          Mammy an' daddy had a hoss,
+          Dey want a liddle bigger.
+          Dey sticked a plaster on his back
+          An' drawed a liddle Nigger.
+
+    Den:
+          Mammy an' daddy had a dog,
+          His tail wus short an' chunky.
+          Dey slapped a plaster 'round dat tail,
+          An' drawed it lak de monkey.
+
+    Well:
+          Mammy an' daddy's dead an' gone.
+          Did you ever hear deir story?
+          Dey sticked some plasters on deir heels,
+          An' drawed 'em up to Glory!
+
+
+UNCLE NED
+
+    Jes lay down de shovel an' de hoe.
+    Jes hang up de fiddle an' de bow.
+    No more hard work fer ole man Ned,
+    Fer he's gone whar de good Niggers go.
+
+    He didn' have no years fer to hear,
+    Didn' have no eyes fer to see,
+    Didn' have no teeth fer to eat corn cake,
+    An' he had to let de beefsteak be.
+
+    Dey called 'im "Ole Uncle Ned,"
+    A long, long time ago.
+    Dere wusn't no wool on de top o' his head
+    In de place whar de wool oughter grow.
+
+    When ole man Ned wus dead,
+    Mosser's tears run down lak rain;
+    But ole Miss, she wus a liddle sorter glad,
+    Dat she wouldn' see de ole Nigger 'gain.
+
+
+THE MASTER'S "STOLEN" COAT
+
+    Ole Mosser bought a brand new coat,
+    He hung it on de wall.
+    Dat Nigger [20]stole dat coat away,
+    An' wore it to de Ball.
+
+    His head look lak a Coffee pot,
+    His nose look lak de spout,
+    His mouf look lak de fier place,
+    Wid de ashes all tuck out.
+
+    His face look lak a skillet lid,
+    His years lak two big kites.
+    His eyes look lak two big biled aigs,
+    Wid de yallers in de whites.
+
+    His body 'us lak a stuffed toad frog,
+    His foot look lak a board.
+    Oh-oh! He thinks he is so fine,
+    But he's greener dan a gourd.
+
+[20] Stole, here, means taken temporarily with intention to return.
+
+
+[21]I WOULDN'T MARRY A YELLOW OR A WHITE NEGRO GIRL
+
+    I sho' loves dat gal dat dey calls Sally [22]"Black,"
+    An' I sorter loves some of de res';
+    I first loves de gals fer lovin' me,
+    Den I loves myse'f de bes'.
+
+    I wouldn' marry dat yaller Nigger gal,
+    An' I'll tell you de reason why:
+    Her neck's drawed out so stringy an' long,
+    I'se afeared she 'ould never die.
+
+    I wouldn' marry dat White Nigger gal,
+    (Fer gracious sakes!) dis is why:
+    Her nose look lak a kittle spout;
+    An' her skin, it hain't never dry.
+
+[21] For discussion see Study in Negro Folk Rhymes.
+
+[22] "Black" here is not the real name. This name is applied because of
+the complexion of the girls to whom it was sung.
+
+
+DON'T ASK ME QUESTIONS
+
+    Don't ax me no questions,
+    An' I won't tell you no lies;
+    But bring me dem apples,
+    An' I'll make you some pies.
+
+    An' if you ax questions,
+    'Bout my havin' de flour;
+    I fergits to use 'lasses
+    An' de pie'll be all sour.
+
+    Dem apples jes wa'k here;
+    An' dem 'lasses, dey run.
+    Hain't no place lak my house
+    Found un'er de sun.
+
+THE OLD SECTION BOSS
+
+    I once knowed an ole Sexion Boss but he done been laid low.
+    I once knowed an ole Sexion Boss but he done been laid low.
+    He "Caame frum gude ole Ireland some fawhrty year ago."
+
+    W'en I ax 'im fer a job, he say: "Nayger, w'at can yer do?"
+    W'en I ax 'im fer a job, he say: "Nayger, w'at can yer do?"
+    "I can line de track; tote de jack, de pick an' shovel too."
+
+    Says he: "Nayger, de railroad's done, an' de chyars is on de track,"
+    Says he: "Nayger, de railroad's done, an' de chyars is on de track,"
+    "Transportation brung yer here, but yō' money'll take yer back."
+
+    I went down to de Deepo, an' my ticket I shō' did draw.
+    I went down to de Deepo, an' my ticket I shō' did draw.
+    To take me over dat ole Iron Mountain to de State o' Arkansaw.
+
+    As I went sailin' down de road, I met my mudder-in-law.
+    I wus so tired an' hongry, man, dat I couldn' wuk my jaw.
+    Fer I hadn't had no decent grub since I lef' ole Arkansaw.
+
+    Her bread wus hard corndodgers; dat meat, I couldn' chaw.
+    Her bread wus hard corndodgers; dat meat, I couldn' chaw.
+    You see; dat's de way de Hoosiers feeds way out in Arkansaw.
+
+
+THE NEGRO AND THE POLICEMAN
+
+    "Oh Mistah Policeman, tu'n me loose;
+    Hain't got no money but a good excuse."
+    Oh hello, Sarah Jane!
+
+    Dat ole Policeman treat me mean,
+    He make me wa'k to Bowlin' Green.
+    Oh hello, Sarah Jane!
+
+    De way he treat me wus a shame.
+    He make me wear dat Ball an' Chain.
+    Oh hello, Sarah Jane!
+
+    I runs to de river, I can't git 'cross;
+    Dat Police grab me an' swim lak a hoss.
+    Oh hello, Sarah Jane!
+
+    I goes up town to git me a gun,
+    Dat ole Police shō' make me run.
+    Oh hello, Sarah Jane!
+
+    I goes crosstown sorter walkin' wid a hump
+    An' dat ole Police shō' make me jump.
+    Oh hello, Sarah Jane!
+
+    Sarah Jane, is dat yō' name?
+    Us boys, we calls you Sarah Jane.
+    Well, hello, Sarah Jane!
+
+
+HAM BEATS ALL MEAT
+
+    Dem white folks set up in a Dinin' Room
+    An' dey charve dat mutton an' lam'.
+    De Nigger, he set 'hind de kitchen door,
+    An' he eat up de good sweet ham.
+
+    Dem white folks, dey set up an' look so fine,
+    An' dey eats dat ole cow meat;
+    But de Nigger grin an' he don't say much,
+    Still he know how to git what's sweet.
+
+    Deir ginger cakes taste right good sometimes,
+    An' deir Cobblers an' deir jam.
+    But fer every day an' Sunday too,
+    Jest gimme de good sweet ham.
+
+    Ham beats all meat,
+    Always good an' sweet.
+    Ham beats all meat,
+    I'se always ready to eat.
+    You can bake it, bile it, fry it, stew it,
+    An' still it's de good sweet ham.
+
+
+SUZE ANN
+
+    Yes: I loves dat gal wid a blue dress on,
+         Dat de white folks calls Suze Ann.
+         She's jes' dat gal what stole my heart,
+         'Way down in Alabam'.
+
+    But: She loves a Nigger about nineteen,
+         Wid his lips all painted red;
+         Wid a liddle fuz around his mouf;
+         An' no brains in his head.
+
+    Now: Looky, looky Eas'! Oh, looky, looky Wes'!
+         I'se been down to ole Lou'zan';
+         Still dat ar gal I loves de bes'
+         Is de gal what's named Suze Ann.
+         Oh, head 'er! Head 'er! Ketch 'er!
+         Jump up an' [23]"Jubal Jew."
+         Fer de Banger Picker's sayin':
+         He hain't got nothin' to do.
+
+[23] Jubal Jew is a kind of dance step.
+
+
+WALK TOM WILSON
+
+    Ole Tom Wilson, he had 'im a hoss;
+    His legs so long he couldn' git 'em 'cross.
+    He laid up dar lak a bag o' meal,
+    An' he spur him in de flank wid his toenail heel.
+
+    Ole Tom Wilson, he come an' he go,
+    Frum cabin to cabin in de county-o.
+    W'en he go to bed, his legs hang do'n,
+    An' his foots makes poles fer de chickens t' roost on.
+
+    Tom went down to de river, an' he couldn' go 'cross.
+    Tom tromp on a 'gater an' 'e think 'e wus a hoss.
+    Wid a mouf wide open, 'gater jump from de san',
+    An' dat Nigger look clean down to de Promus' Lan'.
+
+    Wa'k Tom Wilson, git out'n de way!
+    Wa'k Tom Wilson, don't wait all de day!
+    Wa'k Tom Wilson, here afternoon;
+    Sweep dat kitchen wid a bran' new broom.
+
+CHICKEN PIE
+
+    If you wants to make an ole Nigger feel good,
+    Let me tell you w'at to do:
+    Jes take off a chicken from dat chicken roost,
+    An' take 'im along wid you.
+    Take a liddle dough to roll 'im up in,
+    An' it'll make you wink yō' eye;
+    Wen dat good smell gits up yō' nose,
+    Frum dat home-made chicken pie.
+
+    Jes go round w'en de night's sorter dark,
+    An' dem chickens, dey can't see.
+    Be shore dat de bad dog's all tied up,
+    Den slip right close to de tree.
+    Now retch out yō' han' an' pull 'im in,
+    Den run lak a William goat;
+    An' if he holler, squeeze 'is neck,
+    An' shove 'im un'er yō' coat.
+
+    Bake dat Chicken pie!
+    It's mighty hard to wait
+    When you see dat Chicken pie,
+    Hot, smokin' on de plate.
+    Bake dat Chicken pie!
+    Yes, put in lots o' spice.
+    Oh, how I hopes to Goodness
+    Dat I gits de bigges' slice.
+
+
+I AM NOT GOING TO HOBO ANY MORE
+
+    My mammy done tol' me a long time ago
+    To always try fer to be a good boy;
+    To lay on my pallet an' to waller on de flō';
+    An' to never leave my daddy's house.
+    I hain't never gwineter hobo no mō'. By George!
+    I hain't never gwineter hobo no mō'.
+
+    Yes, befō' I'd live dat ar hobo life,
+    I'll tell you what I'd jes go an' do:
+    I'd court dat pretty gal an' take 'er fer my wife,
+    Den jes lay 'side dat ar hobo life.
+    I hain't never gwineter hobo no mō'. By George!
+    I hain't never gwineter hobo no mō'.
+
+
+FORTY-FOUR
+
+    If de people'll jes gimme
+    Des a liddle bit o' peace,
+    I'll tell 'em what happen
+    To de Chief o' Perlice.
+    He met a robber
+    Right at de dō'!
+    An' de robber, he shot 'im
+    Wid a forty-fō'!
+    He shot dat Perliceman.
+    He shot 'im shō'!
+    What did he shoot 'im wid?
+    A forty-fō'.
+
+    Dey sent fer de Doctah
+    An' de Doctah he come.
+    He come in a hurry,
+    He come in a run.
+    He come wid his instriments
+    Right in his han',
+    To progue an' find
+    Dat forty-fō', Man!
+    De Doctah he progued;
+    He progued 'im shō'!
+    But he jes couldn' find
+    Dat forty-fō'.
+
+    Dey sent fer de Preachah,
+    An' de preachah he come.
+    He come in a walk,
+    An' he come in to talk.
+    He come wid 'is Bible,
+    Right in 'is han',
+    An' he read from dat chapter,
+    Forty-fō', Man!
+    Dat Preachah, he read.
+    He read, I know.
+    What Chapter did he read frum?
+    'Twus Forty-fō'!
+
+
+
+
+PLAY RHYME SECTION
+
+
+BLINDFOLD PLAY CHANT
+
+    Oh blin' man! Oh blin' man!
+    You cain't never see.
+    Just tu'n 'round three times
+    You cain't ketch me.
+
+    Oh tu'n Eas'! Oh tu'n Wes'!
+    Ketch us if you can.
+    Did you thought dat you'd cotch us,
+    Mistah blin' man?
+
+
+FOX AND GEESE PLAY
+
+    [24](Fox _Call_) "Fox in de mawnin'!"
+    (Goose _Sponse_) "Goose in de evenin'!"
+
+    (Fox _Call_) "How many geese you got?"
+    (Goose _Sponse_) "More 'an you're able to ketch!"
+
+[24] For explanation of "call," and "sponse," see Study in Negro Folk
+Rhymes.
+
+
+HAWK AND CHICKENS PLAY
+
+    [25](Chicken's _Call_) "Chickamee, chickamee, cranie-crow."
+          I went to de well to wash my toe.
+          W'en I come back, my chicken wus gone.
+          W'at time, ole Witch?
+    (Hawk _Sponse_) "One"
+
+    (Hawk _Call_) "I wants a chick."
+    (Chicken's _Sponse_) "Well, you cain't git mine."
+
+    (Hawk _Call_) "I shall have a chick!"
+    (Chicken's _Sponse_) "You shan't have a chick!"
+
+[25] For explanation of "call," and "sponse," see Study in Negro Folk
+Rhymes.
+
+
+CAUGHT BY THE WITCH PLAY
+
+    (Human _Call_) "Molly, Molly, Molly-bright!"
+    (Witch _Sponse_) "Three scō' an' ten!"
+
+    (Human _Call_) "Can we git dar 'fore candle-light?"
+    (Witch _Sponse_) "Yes, if yō' legs is long an' light."
+
+    (Conscience's Warning _Call_) "You'd better watch out,
+    Or de witches'll git yer!"
+
+
+[26]GOOSIE-GANDER PLAY RHYME
+
+    "Goosie, goosie, goosie-gander!
+    What d'you say?"--"Say: 'Goose!'"--
+    "Ve'y well, go right along, Honey!
+    I tu'ns yō' years a-loose."
+
+    "Goosie, goosie, goosie-gander!
+    What d'you say?"--"Say: 'Gander'"
+    "Ve'y well. Come in de ring, Honey!
+    I'll pull yō' years way yander!"
+
+[26] For explanation read the Study in Negro Folk Rhymes.
+
+
+HAWK AND BUZZARD
+
+    Once: De Hawk an' de buzzard went to roost,
+        An' de hawk got up wid a broke off tooth.
+
+    Den: De hawk an' de buzzard went to law,
+        An' de hawk come back wid a broke up jaw.
+
+    But lastly: Dat buzzard tried to plead his case,
+        Den he went home wid a smashed in face.
+
+
+LIKES AND DISLIKES
+
+    I sho' loves Miss Donie! Oh, yes, I do!
+            She's neat in de waist,
+            Lak a needle in de case;
+            An' she suits my taste.
+
+    I'se gwineter run wid Mollie Roalin'! Oh, yes, I will!
+            She's pretty an' nice
+            Lak a bottle full o' spice,
+            But she's done drap me twice.
+
+    I don't lak Miss Jane! Oh no, I don't.
+            She's fat an' stout,
+            Got her mouf sticked out,
+            An' she laks to pout.
+
+
+SUSIE GIRL
+
+    Ring 'round, Miss Susie gal,
+    Ring 'round, "My Dovie."
+    Ring 'round, Miss Susie gal.
+    Bless you! "My Lovie."
+
+    Back 'way, Miss Susie gal.
+    Back 'way, "My Money."
+    Now come back, Miss Susie gal.
+    Dat's right! "My Honey."
+
+    Swing me, Miss Susie gal.
+    Swing me, "My Starlin'."
+    Jes swing me, my Susie gal.
+    Yes "Love!" "My Darlin'."
+
+
+SUSAN JANE
+
+    I know somebody's got my Lover;
+    Susan Jane! Susan Jane!
+    Oh, cain't you tell me; help me find 'er?
+    Susan Jane! Susan Jane!
+
+    If I lives to see nex' Fall;
+    Susan Jane! Susan Jane!
+    I hain't gwineter sow no wheat at all.
+    Susan Jane! Susan Jane!
+
+    'Way down yon'er in de middle o' de branch;
+    Susan Jane! Susan Jane!
+    De ole cow pat an' de buzzards dance.
+    Susan Jane! Susan Jane!
+
+
+PEEP SQUIRREL
+
+    Peep squir'l, ying-ding-did-lum;
+    Peep squir'l, it's almos' day,
+    Look squir'l, ying-ding-did-lum,
+    Look squir'l, an' run away.
+
+    Walk squir'l, ying-ding-did-lum;
+    Walk squir'l, fer dat's de way.
+    Skip squir'l, ying-ding-did-lum;
+    Skip squir'l, all dress in gray.
+
+    Run squir'l! Ying-ding-did-lum!
+    Run squir'l! Oh, run away!
+    I cotch you squir'l! Ying-ding-did-lum!
+    I cotch you squir'l! Now stay, I say.
+
+
+DID YOU FEED MY COW?
+
+    "Did yer feed my cow?" "Yes, Mam!"
+    "Will yer tell me how?" "Yes, Mam!"
+    "Oh, w'at did yer give 'er?" "Cawn an' hay."
+    "Oh, w'at did yer give 'er?" "Cawn an' hay."
+
+    "Did yer milk 'er good?" "Yes, Mam!"
+    "Did yer do lak yer should?" "Yes, Mam!"
+    "Oh, how did yer milk 'er?" "Swish! Swish! Swish!"
+    "Oh, how did yer milk 'er?" "Swish! Swish! Swish!"
+
+    "Did dat cow git sick?" "Yes, Mam!"
+    "Wus she kivered wid tick?" "Yes, Mam!"
+    "Oh, how wus she sick?" "All bloated up."
+    "Oh, how wus she sick?" "All bloated up."
+
+    "Did dat cow die?" "Yes, Mam!"
+    "Wid a pain in 'er eye?" "Yes, Mam!"
+    "Oh, how did she die?" "Uh-! Uh-! Uh-!"
+    "Oh, how did she die?" "Uh-! Uh-! Uh-!"
+
+    "Did de Buzzards come?" "Yes, Mam!"
+    "Fer to pick 'er bone?" "Yes, Mam!"
+    "Oh, how did they come?" "Flop! Flop! Flop!"
+    "Oh, how did they come?" "Flop! Flop! Flop!"
+
+
+A BUDGET
+
+    If I lives to see nex' Spring
+    I'se gwineter buy my wife a big gold ring.
+
+    If I lives to see nex' Fall,
+    I'se gwinter buy my wife a waterfall.
+
+    "When Christmas comes?" You cunnin' elf!
+    I'se gwineter spen' my money on myself.
+
+
+THE OLD BLACK GNATS
+
+    Dem ole black gnats, dey is so bad
+    I cain't git out'n here.
+    Dey stings, an' bites, an' runs me mad;
+    I cain't git out'n here.
+
+    Dem ole black gnats dey sings de song,
+    "You cain't git out'n here.
+    Ole Satan'll git you befō' long;
+    You cain't git out'n here."
+
+    Dey burns my years, gits in my eye;
+    An' I cain't git out'n here.
+    Dey makes me dance, dey makes me cry;
+    An' I cain't git out'n here.
+
+    I fans an' knocks but dey won't go 'way!
+    I cain't git out'n here.
+    Dey makes me wish 'twus Jedgment Day;
+    Fer I cain't git out'n here.
+
+
+SUGAR LOAF TEA
+
+    Bring through yō' [27]Sugar-lō'-tea, bring through yō' [27]Candy,
+    All I want is to wheel, an' tu'n, an' bow to my Love so handy.
+
+    You tu'n here on Sugar-lō'-tea, I'll tu'n there on Candy.
+    All I want is to wheel, an' tu'n, an' bow to my Love so handy.
+
+    Some gits drunk on Sugar-lō'-tea, some gits drunk on Candy,
+    But all I wants is to wheel, an' tu'n, an' bow to my Love so handy.
+
+[27] Nicknames applied in imagination to the women engaged in playing in
+the Play Song.
+
+
+GREEN OAK TREE! ROCKY'O
+
+    Green oak tree! Rocky'o! Green oak tree! Rocky'o!
+    Call dat one you loves, who it may be,
+    To come an' set by de side o' me.
+    "Will you hug 'im once an' kiss 'im twice?"
+    "W'y! I wouldn' kiss 'im once fer to save 'is life!"
+    Green oak tree! Rocky'o! Green oak tree! Rocky'o!
+
+
+KISSING SONG
+
+    A sleish o' bread an' butter fried,
+    Is good enough fer yō' sweet Bride.
+    Now choose yō' Lover, w'ile we sing,
+    An' call 'er nex' onto de ring.
+
+    "Oh my Love, how I loves you!
+    Nothin' 's in dis worl' above you.
+    Dis right han', fersake it never.
+    Dis heart, you mus' keep forever.
+    One sweet kiss, I now takes from you;
+    Caze I'se gwine away to leave you."
+
+
+KNEEL ON THIS CARPET
+
+    Jes choose yō' Eas'; jes choose yō' Wes'.
+    Now choose de one you loves de bes'.
+    If she hain't here to take 'er part
+    Choose some one else wid all yō' heart.
+
+    Down on dis chyarpet you mus' kneel,
+    Shore as de grass grows in de fiel'.
+    Salute yō' Bride, an' kiss her sweet,
+    An' den rise up upon yō' feet.
+
+
+SALT RISING BREAD
+
+    I loves saltin', saltin' bread.
+    I loves saltin', saltin' bread.
+    Put on dat skillet, nev' mind de lead;
+    Caze I'se gwineter cook dat saltin' bread;
+    Yes, ever since my mammy's been dead,
+    I'se been makin' an' cookin' dat saltin' bread.
+
+    I loves saltin', saltin' bread.
+    I loves saltin', saltin' bread.
+    You loves biscuit, butter, an' fat?
+    I can dance Shiloh better 'an dat.
+    Does you turn 'round an' shake yō' head?--
+    Well; I loves saltin', saltin' bread.
+
+    I loves saltin', saltin' bread.
+    I loves saltin', saltin' bread.
+    W'en you ax yō' mammy fer butter an' bread,
+    She don't give nothin' but a stick across yō' head.
+    On cracklin's, you say, you wants to git fed?
+    Well, I loves saltin', saltin' bread.
+
+
+PRECIOUS THINGS
+
+    Hol' my rooster, hōl' my hen,
+    Pray don't tetch my [28]Gooshen Ben'.
+
+    Hol' my bonnet, hōl' my shawl,
+    Pray don't tetch my waterfall.
+
+    Hōl' my han's by de finger tips,
+    But pray don't tetch my sweet liddle lips.
+
+[28] Grecian Bend.
+
+
+HE LOVES SUGAR AND TEA
+
+    Mistah Buster, he loves sugar an' tea.
+    Mistah Buster, he loves candy.
+    Mistah Buster, he's a Jim-dandy!
+    He can swing dem gals so handy.
+
+    Charlie's up an' Charlie's down.
+    Charlie's fine an' dandy.
+    Ev'ry time he goes to town,
+    He gits dem gals stick candy.
+
+    Dat Niggah, he love sugar an' tea.
+    Dat Niggah love dat candy.
+    Fine Niggah! He can wheel 'em 'round,
+    An' swing dem ladies handy.
+
+    Mistah Sambo, he love sugar an' tea.
+    Mistah Sambo love his candy.
+    Mistah Sambo; he's dat han'some man
+    What goes wid sister Mandy.
+
+
+HERE COMES A YOUNG MAN COURTING
+
+    Here comes a young man a courtin'! Courtin'! Courtin'!
+    Here comes a young man a-courtin'! It's Tidlum Tidelum Day.
+    "Say! Won't you have one o' us? Us, Sir? Us, Sir?
+    Say! Won't you have one o' us, Sir?" dem brown skin ladies say.
+
+    "You is too black an' rusty! Rusty! Rusty!
+    You is too black an' rusty!" said Tidlum Tidelum Day.
+    "We hain't no blacker 'an you, Sir! You, Sir! You, Sir!
+    We hain't no blacker 'an you, Sir!" dem brown skin ladies say.
+
+    "Pray! Won't you have one o' us, Sir? Us, Sir? Us, Sir?
+    Pray! Won't you have one o' us, Sir?" say yaller gals all gay.
+    "You is too ragged an' dirty! Dirty! Dirty!
+    You is too ragged an' dirty!" said Tidlum Tidelum Day.
+
+    "You shore is got de bighead! Bighead! Bighead!
+    You shore is got de bighead! You needn' come dis way.
+    We's good enough fer you, Sir! You, Sir! You, Sir!
+    We's good enough fer you, Sir!" dem yaller gals all say.
+
+    "De fairest one dat I can see, dat I can see, dat I can see,
+    De fairest one dat I can see," said Tidlum Tidelum Day.
+    "My Lulu, come an' wa'k wid me, wa'k wid me, wa'k wid me.
+    My Lulu, come an' wa'k wid me. 'Miss Tidlum Tidelum Day.'"
+
+
+ANCHOR LINE
+
+    I'se gwine out on de Anchor Line, Dinah!
+    I won't git back 'fore de summer time, Dinah!
+    W'en I come back be "dead in line,"
+    I'se gwineter bring you a dollar an' a dime,
+    Shore as I gits in from de Anchor Line, Dinah!
+
+    If you loves me lak I loves you, Dinah!
+    No Coon can cut our love in two, Dinah!
+    If you'll jes come an' go wid me,
+    Come go wid me to Tennessee,
+    Come go wid me; I'll set you free,--Dinah!
+
+
+SALLIE
+
+    Sallie! Sallie! don't you want to marry?
+    Sallie! Sallie! do come an' tarry!
+    Sallie! Sallie! Mammy says to tell her when.
+    Sallie! Sallie! She's gwineter kill dat turkey hen!
+
+    Sallie! Sallie! When you goes to marry,
+    (Sallie! Sallie!) Marry a fahmin man(!)
+    (Sallie! Sallie!) Ev'ry day'll be Mond'y,
+    (Sallie! Sallie!) Wid a hoe-handle in yō' han'!
+
+
+[29]SONG TO THE RUNAWAY SLAVE
+
+    Go 'way from dat window, "My Honey, My Love!"
+    Go 'way from dat window! I say.
+    De baby's in de bed, an' his mammy's lyin' by,
+    But you cain't git yō' lodgin' here.
+
+    Go 'way from dat window, "My Honey, My Love!"
+    Go 'way from dat window! I say;
+    Fer ole Mosser's got 'is gun, an' to Miss'ip' youse been sōl';
+    So you cain't git yō' lodgin' here.
+
+    Go 'way from dat window, "My Honey, My Love!"
+    Go 'way from dat window! I say.
+    De baby keeps a-cryin'; but you'd better un'erstan'
+    Dat you cain't git yō' lodgin' here.
+
+    Go 'way from dat window, "My Honey, My Love!"
+    Go 'way from dat window! I say;
+    Fer de Devil's in dat man, an' you'd better un'erstan'
+    Dat you cain't git yō' lodgin' here.
+
+[29] The story went among Negroes that a runaway slave husband returned
+every night, and knocked on the window of his wife's cabin to get food.
+Other slaves having betrayed the secret that he was still in the
+vicinity, he was sold in the woods to a slave trader at reduced price.
+This trader was to come next day with bloodhounds to hunt him down. On
+the night after the sale, when the runaway slave husband knocked, the
+slave wife pinched their baby to make it cry. Then she sang the above
+song (as if singing to the baby), so that he might, if possible, effect
+his escape.
+
+
+DOWN IN THE LONESOME GARDEN
+
+    Hain't no use to weep, hain't no use to moan;
+    Down in a lonesome gyardin.
+    You cain't git no meat widout pickin' up a bone,
+    Down in a lonesome gyardin.
+
+    Look at dat gal! How she puts on airs,
+    Down in de lonesome gyardin!
+    But whar did she git dem closes she w'ars,
+    Down in de lonesome gyardin?
+
+    It hain't gwineter rain, an' it hain't gwineter snow;
+    Down in my lonesome gyardin.
+    You hain't gwinter eat in my kitchen doo',
+    Nor down in my lonesome gyardin.
+
+
+LITTLE SISTER, WON'T YOU MARRY ME?
+
+    Liddle sistah in de barn, jine de weddin'.
+    Youse de sweetest liddle couple dat I ever did see.
+    Oh Love! Love! Ahms all 'round me!
+    Say, liddle sistah, won't you marry me?
+
+    Oh step back, gal, an' don't you come a nigh me,
+    Wid all dem sassy words dat you say to me.
+    Oh Love! Love! Ahms all 'roun' me!
+    Oh liddle sistah, won't you marry me?
+
+
+RAISE A "RUCUS" TO-NIGHT
+
+    Two liddle Niggers all dressed in white,
+                                             (Raise a rucus to-night.)
+    Want to go to Heaben on de tail of a kite.
+                                             (Raise a rucus to-night.)
+    De kite string broke; dem Niggers fell;
+                                             (Raise a rucus to-night.)
+    Whar dem Niggers go, I hain't gwineter tell.
+                                             (Raise a rucus to-night.)
+
+    A Nigger an' a w'ite man a playin' seben up;
+                                             (Raise a rucus to-night.)
+    De Nigger beat de w'ite man, but 'ē's skeered to pick it up.
+                                             (Raise a rucus to-night.)
+    Dat Nigger grabbed de money, an' de w'ite man fell.
+                                             (Raise a rucus to-night.)
+    How de Nigger run, I'se not gwineter tell.
+                                             (Raise a rucus to-night.)
+
+    Look here, Nigger! Let me tell you a naked fac';
+                                             (Raise a rucus to-night.)
+    You mought a been cullud widout bein' dat black;
+                                             (Raise a rucus to-night.)
+    Dem 'ar feet look lak youse shō' walkin' back;
+                                             (Raise a rucus to-night.)
+    An' yō' ha'r, it look lak a chyarpet tack.
+                                             (Raise a rucus to-night.)
+
+    Oh come 'long, chilluns, come 'long,
+    W'ile dat moon are shinin' bright.
+    Let's git on board, an' float down de river,
+    An' raise dat rucus to-night.
+
+
+SWEET PINKS AND ROSES
+
+    Sweet pinks an' roses, strawbeers on de vines,
+    Call in de one you loves, an' kiss 'er if you minds.
+    Here sets a pretty gal,
+    Here sets a pretty boy;
+    Cheeks painted rosy, an' deir eyes battin' black.
+    You kiss dat pretty gal, an' I'll stan' back.
+
+
+
+
+PASTIME RHYME SECTION
+
+
+SATAN
+
+    De Lawd made man, an' de man made money.
+    De Lawd made de bees, an' de bees made honey.
+    De Lawd made ole Satan, an' ole Satan he make sin.
+    Den de Lawd, He make a liddle hole to put ole Satan in.
+
+    Did you ever see de Devil, wid his iron handled shovel,
+    A scrapin' up de san' in his ole tin pan?
+    He cuts up mighty funny, he steals all yō' money,
+    He blinds you wid his san'. He's tryin' to git you, man!
+
+
+JOHNNY BIGFOOT
+
+    Johnny, Johnny Bigfoot!
+    Want a pair o' shoes?
+    Go kick two cows out'n deir skins.
+    Run Brudder, tell de news!
+
+
+THE THRIFTY SLAVE
+
+    Jes wuk all day,
+    Den go huntin' in de wood.
+    Ef you cain't ketch nothin',
+    Den you hain't no good.
+    Don't look at Mosser's chickens,
+    Caze dey're roostin' high.
+    Big pig, liddle pig, root hog or die!
+
+
+WILD NEGRO BILL
+
+    I'se wild Nigger Bill
+    Frum Redpepper Hill.
+    I never did wo'k, an' I never will.
+
+    I'se done killed de Boss.
+    I'se knocked down de hoss.
+    I eats up raw goose widout apple sauce!
+
+    I'se Run-a-way Bill,
+    I knows dey mought kill;
+    But ole Mosser hain't cotch me, an' he never will!
+
+
+YOU LOVE YOUR GIRL
+
+    You loves yō' gal?
+    Well, I loves mine.
+    Yō' gal hain't common?
+    Well, my gal's fine.
+
+    I loves my gal,
+    She hain't no goose--
+    Blacker 'an blackberries,
+    Sweeter 'an juice.
+
+
+FRIGHTENED AWAY FROM A CHICKEN-ROOST
+
+    I went down to de hen house on my knees,
+    An' I thought I heared dat chicken sneeze.
+    You'd oughter seed dis Nigger a-gittin' 'way frum dere,
+    But 'twusn't nothin' but a rooster sayin' his prayer.
+    How I wish dat rooster's prayer would en',
+    Den perhaps I mought eat dat ole gray hen.
+
+
+BEDBUG
+
+    De June-bug's got de golden wing,
+    De Lightning-bug de flame;
+    De Bedbug's got no wing at all,
+    But he gits dar jes de same.
+
+    De Punkin-bug's got a punkin smell,
+    De Squash-bug smells de wust;
+    But de puffume of dat ole Bedbug,
+    It's enough to make you bust.
+
+    Wen dat Bedbug come down to my house,
+    I wants my walkin' cane.
+    Go git a pot an' scald 'im hot!
+    Good-by, Miss Lize Jane!
+
+
+HOW TO GET TO GLORY LAND
+
+    If you wants to git to Glory Land,
+    I'll tell you what to do:
+    Jes grease yō' heels wid mutton sue,
+    W'en de Devil's atter you.
+    Jes grease yō' heel an' grease yō' han',
+    An' slip 'way--over into Glory Lan'.
+
+
+DESTITUTE FORMER SLAVE OWNERS
+
+    Missus an' Mosser a-walkin' de street,
+    Deir han's in deir pockets an' nothin' to eat.
+    She'd better be home a-washin' up de dishes,
+    An' a-cleanin' up de ole man's raggitty britches.
+    He'd better run 'long an' git out de hoes
+    An' clear out his own crooked weedy corn rows;
+    De Kingdom is come, de Niggers is free.
+    Hain't no Nigger slaves in de Year Jubilee.
+
+
+FATTENING FROGS FOR SNAKES
+
+    You needn' sen' my gal hoss apples
+    You needn' sen' her 'lasses candy;
+    She would keer fer de lak o' you,
+    Ef you'd sen' her apple brandy.
+
+    W'y don't you git some common sense?
+    Jes git a liddle! Oh fer land sakes!
+    Quit yō' foolin', she hain't studyin' you!
+    Youse jes fattenin' frogs fer snakes!
+
+
+THE MULE'S KICK
+
+    Is dis me, or not me,
+    Or is de Devil got me?
+    Wus dat a muskit shot me?
+    Is I laid here more'n a week?--
+    Dat ole mule do kick amazin',
+    An' I 'spec's he's now a-grazin'
+    On de t'other side de creek.
+
+
+CHRISTMAS TURKEY
+
+    I prayed to de Lawd fer tucky-o.
+    Dat tucky wouldn' come.
+    I prayed, an' I prayed 'til I'se almos' daid.
+    No tucky at my home.
+
+    Chrismus Day, she almos' here;
+    My wife, she mighty mad.
+    She want dat tucky mo' an' mo'.
+    An' she want 'im mighty bad.
+
+    I prayed 'til de scales come on my knees,
+    An' still no tucky come.
+    I tuck myse'f to my tucky roos',
+    An' I brung my tucky home.
+
+
+A FULL POCKETBOOK
+
+    De goose at de barn, he feel mighty funny,
+    Caze de duck find a pocketbook chug full o' money.
+    De goose say: "Whar is you gwine, my Sonny?"
+    An' de duck, he say: "Now good-by, Honey."
+
+    De duck chaw terbacker an' de goose drink wine,
+    Wid a stuffed pocketbook dey shō' had a good time;
+    De grasshopper played de fiddle on a punkin vine
+    'Till dey all fall over on a sorter dead line.
+
+
+NO ROOM TO POKE FUN
+
+    Nev' mīn' if my nose are flat,
+    An' my face are black an' sooty;
+    De Jaybird hain't so big in song,
+    An' de Bullfrog hain't no beauty.
+
+
+CROOKED NOSE JANE
+
+    I courted a gal down de lane.
+    Her name, it wus Crooked Nose Jane.
+    Her face wus white speckled, her lips wus all red,
+    An' she look jes as lean as a weasel half-fed.
+
+
+BAD FEATURES
+
+    Blue gums an' black eyes;
+    Run 'round an' tell lies.
+    Liddle head, liddle wit;
+    Big long head, not a bit.
+
+    Wid his long crooked toes,
+    An' his heel right roun';
+    Dat flat-footed Nigger
+    Make a hole in de groun'.
+
+
+MISS SLIPPY SLOPPY
+
+    Ole Miss Slippy Sloppy jump up out'n bed,
+    Den out'n de winder she poke 'er nappy head,
+    "Jack! O Jack! De gray goose's dead.
+    Dat fox done gone an' bit off 'er head!"
+
+    Jack run up de hill an' he call Mosser's hounds;
+    An' w'en dat fox hear dem turble sounds,
+    He sw'ar by his head an' his hide all 'round,
+    Dat he don't want no dinner, but a hole in de ground.
+
+
+HOW TO MAKE IT RAIN
+
+    Go kill dat snake an' hang him high,
+    Den tu'n his belly to de sky.
+    De storm an' rain'll come bye an' bye.
+
+
+A WIND-BAG
+
+    A nigger come a-struttin' up to me las' night;
+    In his han' wus a walkin' cane,
+    He tipped his hat an' give a low bow;
+    "Howdy-doo! Miss Lize Jane!"
+
+    But I didn' ax him how he done,
+    Which make a hint good pinned,
+    Dat I'd druther have a paper bag,
+    When it's sumpin' to be filled up wid wind.
+
+
+GOING TO BE GOOD SLAVES
+
+    Ole Mosser an' Missus has gone down to town,
+    Dey said dey'd git us somethin' an' dat hain't no jokes.
+    I'se gwineter be good all de whilst dey're all 'way,
+    An' I'se gwineter wear stockin's jes lak de white folks.
+
+
+[30]PAGE'S GEESE
+
+    Ole man Page'll be in a turble rage,
+    W'en he find out, it'll raise his dander.
+    Yankee soldiers bought his geese, fer one cent a-piece,
+    An' sent de pay home by de gander.
+
+[30] The Northern soldiers during the Civil War took all of a Southern
+planter's geese except one lone gander. They put one penny, for each
+goose taken, into a small bag and tied this bag around the gander's
+neck. They then sent him home to his owner with the pay of one penny for
+each goose taken. The Negroes of the community at once made up this
+little song.
+
+
+TO WIN A YELLOW GIRL
+
+    If you wants to win a yaller gal,
+    I tell you what you do;
+    You "borrow" Mosser's Beaver hat,
+    An' slip on his Long-tailed Blue.
+
+
+SEX LAUGH
+
+    You'se heared a many a gal laugh,
+    An' say: "He! He-he! He-he-he!"
+    But you hain't heared no boy laugh,
+    An' say: "She! She-she! She-she-she!"
+
+
+OUTRUNNING THE DEVIL
+
+    I went upon de mountain,
+    An' I seed de Devil comin'.
+    I retched an' got my hat an' coat,
+    An' I beat de Devil runnin'.
+
+    As I run'd down across de fiel',
+    A rattlesnake bit me on de heel.
+    I rears an' pitches an' does my bes',
+    An' I falls right back in a hornet's nes'.
+
+    For w'en I wus a sinnah man,
+    I rund by leaps an' boun's.
+    I wus afeard de Devil 'ould ketch me
+    Wid his ole three legged houn's.
+
+    But now I'se come a Christun,
+    I kneels right down an' prays,
+    An' den de Devil runs from me--
+    I'se tried dem other ways.
+
+
+HOW TO KEEP OR KILL THE DEVIL
+
+    If you wants to see de Devil smile,
+    Simpully do lak his own chile.
+
+    If you wants to see de Devil git spunk,
+    Swallow whisky, an' git drunk.
+
+    If you wants to see de Devil live,
+    Cuss an' swar an' never give.
+
+    If you wants to see de Devil run,
+    Jes tu'n a loose de Gospel gun.
+
+    If you wants to see de Devil fall,
+    Hit him wid de Gospel ball.
+
+    If you wants to see de Devil beg,
+    Nail him wid a Gospel peg.
+
+    If you wants to see de Devil sick,
+    Beat him wid a Gospel stick.
+
+    If you wants to see de Devil die,
+    Feed him up on Gospel pie.
+
+    But de Devil w'ars dat iron shoe,
+    An' if you don't watch, he'll slip it on you.
+
+
+JOHN HENRY
+
+    John Henry, he wus a steel-drivin' man.
+    He died wid his hammer in his han'.
+    O come long boys, an' line up de track,
+    For John Henry, he hain't never comin' back.
+
+    John Henry said to his Cappun: "Boss,
+    A man hain't nothin' but a man,
+    An' 'fore I'll be beat in dis sexion gang,
+    I'll die wid a hammer in my han'."
+
+    John Henry, he had a liddle boy,
+    He helt 'im in de pam of his han';
+    An' de las' word he say to dat chile wus:
+    "I wants you to be my steel-drivin' man."
+
+    John Henry, he had a pretty liddle wife,
+    An' her name, it wus Polly Ann.
+    She walk down de track, widout lookin' back,
+    For to see her big fine steel-drivin' man.
+
+    John Henry had dat pretty liddle wife,
+    An' she went all dress up in red.
+    She walk ev'y day down de railroad track
+    To de place whar her steel-drivin' man fell dead.
+
+
+[31]THE NASHVILLE LADIES
+
+    Dem Nashville ladies dress up fine.
+    Got longpail hoopskirts hanging down behīn'!
+    Got deir bonnets to deir shoulders an' deir noses in de sky!
+    Big pig! Liddle pig! Root hog, or die!
+
+[31] The name of the place was used where the rhyme was repeated.
+
+
+THE RASCAL
+
+    I'se de bigges' rascal fer my age.
+    I now speaks from dis public stage.
+    I'se stole a cow; I'se stole a calf,
+    An' dat hain't more 'an jes 'bout half.
+
+    Yes, Mosser!--Lover of my soul!--
+    "How many chickens has I stole?"
+    Well; three las' night, an' two night befo';
+    An' I'se gwine 'fore long to git four mō'.
+
+    But you see dat hones' Billy Ben,
+    He done e't more dan erry three men.
+    He e't a ham, den e't a side;
+    He would a e't mō', but you know he died.
+
+
+COFFEE GROWS ON WHITE FOLKS' TREES
+
+    Coffee grows on w'ite folks' trees,
+    But de Nigger can git dat w'en he please.
+    De w'ite folks loves deir milk an' brandy,
+    But dat black gal's sweeter dan 'lasses candy.
+
+    Coffee grows on w'ite folks trees,
+    An' dere's a river dat runs wid milk an' brandy.
+    De rocks is broke an' filled wid gold,
+    So dat yaller gal loves dat high-hat dandy.
+
+
+AUNT JEMIMA
+
+    Ole Aunt Jemima grow so tall,
+    Dat she couldn' see de groun'.
+    She stumped her toe, an' down she fell
+    From de Blackwoods clean to town.
+
+    W'en Aunt Jemima git in town,
+    An' see dem "tony" ways,
+    She natchully faint an' back she fell
+    To de Backwoods whar she stays.
+
+
+THE MULE'S NATURE
+
+    If you sees a mule tied up to a tree,
+    You mought pull his tail an' think about me.
+    For if a Nigger don't know de natcher of a mule,
+    It makes no diffunce what 'comes of a fool.
+
+
+I'M A "ROUND-TOWN" GENTLEMAN
+
+    I hain't no wagon, hain't no dray,
+    Jes come to town wid a load o' hay.
+    I hain't no cornfield to go to bed
+    Wid a lot o' hay-seeds in my head.
+    I'se a "round-town" Gent an' I don't choose
+    To wuk in de mud, an' do widout shoes.
+
+
+THIS SUN IS HOT
+
+    Dis sun are hot,
+    Dis hoe are heavy,
+    Dis grass grow furder dan I can reach;
+    An' as I looks
+    At dis Cotton fiel',
+    I thinks I mus' 'a' been called to preach.
+
+
+UNCLE JERRY FANTS
+
+    Has you heared 'bout Uncle Jerry Fants?
+    He's got on some cu'ious shapes.
+    He's de one what w'ars dem white duck pants,
+    An' he sot down on a bunch o' grapes.
+
+
+KEPT BUSY
+
+    Jes as soon as de sun go down,
+    My True-love's on my min'.
+    An' jes as soon as de daylight breaks
+    De white folks is got me a gwine.
+
+    She's de sweetes' thing in town;
+    An' when I sees dat Nig,
+    She make my heart go "pitty-pat,"
+    An' my head go "whirly-gig."
+
+
+CROSSING A FOOT-LOG
+
+    Me an' my wife an' my bobtail dog
+    Start 'cross de creek on a hick'ry log.
+    We all fall in an' git good wet,
+    But I helt to my liddle brown jug, you bet!
+
+
+WATERMELON PREFERRED
+
+    Dat hambone an' chicken are sweet.
+    Dat 'possum meat are sholy fine.
+    But give me,--now don't you cheat!--
+    (Oh, I jes wish you would give me!)
+    Dat watermillion, smilin' on de vine.
+
+
+"THEY STEAL" GOSSIP
+
+    _You know:_
+          Some folks say dat a Nigger won't steal,
+          But Mosser cotch six in a watermillion fiel';
+          A-cuttin', an' a-pluggin' an' a-tearin' up de vines,
+          A-eatin' all de watermillions, an' a-stackin' up de rinds.
+
+    _Uh-huh! Yes, I heared dat:_
+          Ole Mosser stole a middlin' o' meat,
+          Ole Missus stole a ham;
+          Dey sent 'em bofe to de Wuk-house,
+          An' dey had to leave de land.
+
+
+FOX AND RABBIT DRINKING PROPOSITIONS
+
+    Fox on de low ground,
+    Rabbit on de hill.
+    Says he: "I'll take a drink,
+    An' leave you a gill."
+
+    De fox say: "Honey,
+    (You sweet liddle elf!)
+    Jes hand me down de whole cup;
+    I wants it fer myself."
+
+
+A TURKEY FUNERAL
+
+    Dis tucky once on earth did dwell;
+    An' "Gobble! Gobble! Gobble!"
+    But now he gives me bigges' joy,
+    An' rests from all his trouble.
+
+    Yes, now he's happy, so am I;
+    No hankerin' fer a feas':
+    Because I'se stuffed wid tucky meat,
+    An' he struts in tucky peace.
+
+
+OUR OLD MULE
+
+    We had an ole mule an' he wouldn' go "gee";
+    So I knocked 'im down wid a single-tree.
+    To daddy dis wus some mighty bad news,
+    So he made me jump up an' outrun de Jews.
+
+
+THE COLLEGE OX
+
+    Ole Ox! Ole Ox! How'd you come up here?
+    You'se shō' plowed de cotton fields for many a, many a year.
+    You'se been kicked an' cuffed about wid heaps an' heaps abuse.
+    Now! Now, you comes up here fer some sort o' College use.
+
+
+CARE IN BREAD-MAKING
+
+    W'en you sees dat gal o' mine,
+    Jes tell 'er fer me, if you please,
+    Nex' time she goes to make up bread
+    To roll up 'er dirty sleeves.
+
+
+WHY LOOK AT ME?
+
+    What's you lookin' at me fer?
+    I didn' come here to stay.
+    I wants dis bug put in yō' years,
+    An' den I'se gwine away.
+
+    I'se got milk up in my bucket,
+    I'se got butter up in my bowl;
+    But I hain't got no Sweetheart
+    Fer to save my soul.
+
+
+A SHORT LETTER
+
+    She writ me a letter
+    As long as my eye.
+    An' she say in dat letter:
+    "My Honey!--Good-by!"
+
+
+DOES MONEY TALK?
+
+    Dem whitefolks say dat money talk.
+    If it talk lak dey tell,
+    Den ev'ry time it come to Sam,
+    It up an' say: "Farewell!"
+
+
+I'LL EAT WHEN I'M HUNGRY
+
+    I'll eat when I'se hongry,
+    An' I'll drink when I'se dry;
+    An' if de whitefolks don't kill me,
+    I'll live till I die.
+
+    In my liddle log cabin,
+    Ever since I'se been born;
+    Dere hain't been no nothin'
+    'Cept dat hard salt parch corn.
+
+    But I knows whar's a henhouse,
+    An' de tucky he charve;
+    An' if ole Mosser don't kill me,
+    I cain't never starve.
+
+
+HEAR-SAY
+
+    Hello! Br'er Jack. How do you do?
+    I'se been a-hearin' a heaps o' things 'bout you.
+    I'll jes declar! It beats de Dickuns!
+    Dey's been tryin' to say you's been a-stealin' chickens!
+
+
+NEGRO SOLDIER'S CIVIL WAR CHANT
+
+    Ole [32]Abe (God bless 'is ole soul!)
+    Got a plenty good victuals, an' a plenty good clo'es.
+    Got powder, an' shot, an' lead,
+    To bust in Adam's liddle Confed'
+    In dese hard times.
+
+    Oh, once dere wus union, an' den dere wus peace;
+    De slave, in de cornfield, bare up to his knees.
+    But de Rebel's in gray, an' Sesesh's in de way,
+    An' de slave'll be free
+    In dese hard times.
+
+[32] Abraham Lincoln.
+
+
+PARODY ON "NOW I LAY ME DOWN TO SLEEP"
+
+    Uh-huh: "Now I lays me down to sleep!"--
+    While dead oudles o' bedbugs 'round me creep,--
+    Well: If dey bites me befō' "I" wake,
+    I hopes "deir" ole jawbones'll break.
+
+
+I'LL GET YOU, RABBIT!
+
+    Rabbit! Rabbit! You'se got a mighty habit,
+    A-runnin' through de grass,
+    Eatin' up my cabbages;
+    But I'll git you shore at las'.
+
+    Rabbit! Rabbit! Ole rabbit in de bottoms,
+    A-playin' in de san',
+    By to-morrow mornin',
+    You'll be in my fryin' pan.
+
+
+THE ELEPHANT
+
+    My mammy gimme fifteen cents
+    Fer to see dat elephan' jump de fence.
+    He jump so high, I didn' see why,
+    If she gimme a dollar he mought not cry.
+
+    So I axed my mammy to gimme a dollar,
+    Fer to go an' hear de elephan' holler.
+    He holler so loud, he skeered de crowd.
+
+    Nex' he jump so high, he tetch de sky;
+    An' he won't git back 'fore de fo'th o' July.
+
+
+A FEW NEGROES BY STATES
+
+    Alabammer Nigger say he love mush.
+    Tennessee Nigger say: "Good Lawd, hush!"
+
+    Fifteen cents in de panel of de fence,
+    South Ca'lina Nigger hain't got no sense.
+
+    Dat Kentucky Nigger jes think he's fine,
+    'Cause he drink dat Gooseberry wine.
+
+    I'se done heared some twenty year ago
+    Dat de Missippi Nigger hafter sleep on de flō'.
+
+    Lousanner Nigger fall out'n de bed,
+    An' break his head on a pone o' co'n bread.
+
+
+HOW TO PLEASE A PREACHER
+
+    If you wants to see dat Preachah laugh,
+    Jes change up a dollar, an' give 'im a half.
+    If you wants to make dat Preachah sing,
+    Kill dat tucky an' give him a wing.
+    If you wants to see dat Preachah cry,
+    Kill dat chicken an' give him a thigh.
+
+
+LOOKING FOR A FIGHT
+
+    I went down town de yudder night,
+    A-raisin' san' an' a-wantin' a fight.
+    Had a forty dollar razzer, an' a gatlin' gun,
+    Fer to shoot dem Niggers down one by one.
+
+
+I'LL WEAR ME A COTTON DRESS
+
+    Oh, will you wear red? Oh, will you wear red?
+    Oh, will you wear red, Milly Biggers?
+    "I won't wear red,
+    It's too much lak Missus' head.
+    I'll wear me a cotton dress,
+    Dyed wid copperse an' oak-bark."
+
+    Oh, will you wear blue? Oh, will you wear blue?
+    Oh, will you wear blue, Milly Biggers?
+    "I won't wear blue,
+    It's too much lak Missus' shoe.
+    I'll wear me a cotton dress,
+    Dyed wid copperse an' oak-bark."
+
+    You sholy would wear gray? You sholy would wear gray?
+    You sholy would wear gray, Milly Biggers?
+    "I won't wear gray,
+    It's too much lak Missus' way.
+    I'll wear me a cotton dress,
+    Dyed wid copperse an' oak-bark."
+
+    Well, will you wear white? Well, will you wear white?
+    Well, will you wear white, Milly Biggers?
+    "I won't wear white,
+    I'd get dirty long 'fore night.
+    I'll wear me a cotton dress,
+    Dyed wid copperse an' oak-bark."
+
+    Now, will you wear black? Now, will you wear black?
+    Now, will you wear black, Milly Biggers?
+    "I mought wear black,
+    Case it's de color o' my back;
+    An' it looks lak my cotton dress,
+    Dyed wid [33]copperse an' oak-bark."
+
+[33] Copperse is copperas, or sulphate of iron.
+
+
+HALF WAY DOINGS
+
+    My dear Brudders an' Sisters,
+    As I comes here to-day,
+    I hain't gwineter take no scripture verse
+    Fer what I'se gwineter say.
+
+    My words I'se gwineter cut off short
+    An' I 'spects to use dis tex':
+    "Dis half way doin's hain't no 'count
+    Fer dis worl' nor de nex'."
+
+    Dis half way doin's, Brudderin,
+    Won't never do, I say.
+    Go to yō' wuk, an' git it done,
+    An' den's de time to play.
+
+    Fer w'en a Nigger gits lazy,
+    An' stops to take short naps,
+    De weeds an' grass is shore to grow
+    An' smudder out his craps.
+
+    Dis worl' dat we's a livin' in
+    Is sumpen lak a cotton row:
+    Whar each an' ev'ry one o' us
+    Is got his row to hoe.
+
+    An' w'en de cotton's all laid by,
+    De rain, it spile de bowls,
+    If you don't keep busy pickin'
+    In de cotton fiel' of yō' souls.
+
+    Keep on a-plowin', an' a-hoein';
+    Keep on scrapin' off de rows;
+    An' w'en de year is over
+    You can pay off all you owes.
+
+    But w'en you sees a lazy Nigger
+    Stop workin', shore's you're born,
+    You'se gwineter see him comin' out
+    At de liddle end of de horn.
+
+
+TWO TIMES ONE
+
+    Two times one is two.
+    Won't you jes keep still till I gits through?
+    Three times three is nine.
+    You 'tend to yō' business, an' I'll 'tend to mine.
+
+
+HE PAID ME SEVEN (PARODY)
+
+    "Our Fadder, Which are in Heaben!"--
+    White man owe me leben and pay me seben.
+    "D'y Kingdom come! D'y Will be done!"--
+    An' if I hadn't tuck dat, I wouldn' git none.
+
+
+PARODY ON "REIGN, MASTER JESUS, REIGN!"
+
+    Oh rain! Oh rain! Oh rain, "good" Mosser!
+    Rain, Mosser, rain! Rain hard!
+    Rain flour an' lard an' a big hog head
+    Down in my back yard.
+
+    An' w'en you comes down to my cabin,
+    Come down by de corn fiel'.
+    If you cain't bring me a piece o' meat,
+    Den bring me a peck o' meal.
+
+    Oh rain! Oh rain! Oh rain, "good" Mosser!
+    Dat good rain gives mō' rest.
+    "What d'you say? You Nigger, dar!"--
+    "Wet ground grows grass best."
+
+
+A REQUEST TO SELL
+
+    Gwineter ax my daddy to sell ole Rose,
+    So's I can git me some new clō's.
+    Gwineter ax my daddy to sell ole Nat,
+    So's I can git a bran' new hat.
+    Gwineter ax my daddy to sell ole Bruise,
+    Den I can git some Brogran shoes.
+    Now, I'se gwineter fix myse'f "jes so,"
+    An' take myse'f down to Big Shiloh.
+    I'se gwine right down to Big Shiloh
+    To take dat t'other Nigger's beau.
+
+
+WE'LL STICK TO THE HOE
+
+    We'll stick to de hoe, till de sun go down.
+    We'll rise w'en de rooster crow,
+    An' go to de fiel' whar de sun shine hot,
+    To de fiel' whar de sugar cane grow.
+    Yes, Chilluns, we'll all go!
+    We'll go to de fiel' whar de sun shine hot.
+    To de fiel' whar de sugar cane grow.
+
+    Oh, sing 'long boys, fer de wuk hain't hard!
+    Oh scrape an' clean up de row.
+    Fer de grass musn' grow, while de sun shine hot,
+    In de fiel' whar de sugar cane grow.
+    No, Chilluns. No, No!
+    Dat grass musn' grow, while de sun shine hot,
+    In de fiel' whar de sugar cane grow.
+
+    Don't think 'bout de time, fer de time hain't long.
+    Yō' life soon come an' go;
+    Den good-bye fiel' whar de sun shine hot,
+    To de fiel' whar de sugar cane grow.
+    Yes, Chilluns. We'll all go!
+    Good-by to de fiel' whar de sun shine hot,
+    To de fiel' whar de sugar cane grow.
+
+
+A FINE PLASTER
+
+    W'en it's sheep skin an' beeswax,
+    It shō's a mighty fine plaster:
+    De mō' you tries to pull it off,
+    De mō' it sticks de faster.
+
+
+A DAY'S HAPPINESS
+
+    Fust: I went out to milk an' I didn' know how,
+          I milked dat goat instid o' dat cow;
+          While a Nigger a-settin' wid a gapin' jaw,
+          Kept winkin' his eye at a tucky in de straw.
+
+    Den:  I went out de gate an' I went down de road,
+          An' I met Miss 'Possum an' I met Mistah Toad;
+          An' ev'y time Miss 'Possum 'ould sing,
+          Mistah Toad 'ould cut dat Pigeon's Wing.
+
+    But:  I went in a whoop, as I went down de road;
+          I had a bawky team an' a heavy load.
+          I cracked my whip, an' ole Beck sprung,
+          An' she busted out my wagin tongue.
+
+    Well: Dat night dere 'us a-gittin' up, shores you're born.
+          De louse go to supper, an' de flea blow de horn.
+          Dat raccoon paced, an' dat 'possum trot;
+          Dat ole goose laid, an' de gander sot.
+
+
+MASTER KILLED A BIG BULL
+
+    Mosser killed a big bull,
+    Missus cooked a dish full,
+    Didn't give poor Nigger a mouf full.
+        Humph! Humph!
+
+    Mosser killed a fat lam'.
+    Missus brung a basket,
+    An' give poor Nigger de haslet.
+        Eh-eh! Eh-eh!
+
+    Mosser killed a fat hog
+    Missus biled de middlin's,
+    An' give poor Nigger de chitlin's.
+        Shō! Shō!
+
+
+YOU HAD BETTER MIND MASTER
+
+    'Way down yon'er in 'Possum Trot,
+    (In ole Miss'sip' whar de sun shines hot)
+    Dere hain't no chickens an' de Niggers eats c'on;
+    You hain't never see'd de lak since youse been bo'n,
+    You'd better mīn' Mosser an' keep a stiff lip,
+    So's you won't git sōl' down to ole Miss'sip'.
+
+
+
+
+LOVE RHYME SECTION
+
+
+PRETTY LITTLE PINK
+
+    My pretty liddle Pink,
+    I once did think,
+    Dat we-uns shō' would marry;
+    But I'se done give up,
+    Hain't got no hope,
+    I hain't got no time to tarry.
+    I'll drink coffee dat flows,
+    From oaks dat grows,
+    'Long de river dat flows wid brandy.
+
+
+A BITTER LOVERS' QUARREL--ONE SIDE
+
+    You nasty dog! You dirty hog!
+    You thinks somebody loves you.
+    I tells you dis to let you know
+    I thinks myse'f above you.
+
+
+ROSES RED
+
+    Rose's red, vi'lets blue.
+    Sugar is sweet but not lak you.
+    De vi'lets fade, de roses fall;
+    But you gits sweeter, all in all.
+
+    As shore as de grass grows 'round de stump,
+    You is my darlin' Sugar Lump.
+    W'en de sun don't shine de day is cold,
+    But my love fer you do not git old.
+
+    De ocean's deep, de sky is blue;
+    Sugar is sweet, an' so is you;
+    De ocean waves an' de sky gits pale,
+    But my love are true, an' it never fail.
+
+
+YOU HAVE MADE ME WEEP
+
+    You'se made me weep, you'se made me mourn,
+    You'se made me tears an' sorrow.
+    So far' you well, my pretty liddle gal,
+    I'se gwine away to-morrow.
+
+
+MOURNING SLAVE FIANCEES
+
+    Look down dat lonesome road! Look down!
+    De way are dark an' cōl'.
+    Dey makes me weep, dey makes me mourn;
+    All 'cause my love are sōl'.
+
+    O don't you see dat turkle dove,
+    What mourns from vine to vine?
+    She mourns lak I moans fer my love,
+    Lef' many a mile behin'.
+
+
+DO I LOVE YOU?
+
+    Does I love you wid all my heart?--
+    I loves you wid my liver;
+    An' if I had you in my mouf,
+    I'd spit you in de river.
+
+
+LOVERS' GOOD-NIGHT
+
+    Cotton fields white in de bright moonlight,
+    Now kiss yō' gal' an' say "Good-night."
+    If she don't kiss you, jes go on 'way;
+    Hain't no need a-stayin' ontel nex' day.
+
+
+VINIE
+
+    I loves coffee, an' I loves tea.
+    I axes you, Vinie, does you love me?
+
+    My day's study's Vinie, an' my midnight dreams,
+    My apples, my peaches, my tunnups, an' greens.
+
+    Oh, I wants dat good 'possum, an' I wants to be free;
+    But I don't need no sugar, if Vinie love me.
+
+    De river is wide, an' I cain't well step it.
+    I loves you, dear Vinie; an' you know I cain't he'p it.
+
+    Dat sugar is sweet, an' dat butter is greasy;
+    But I loves you, sweet Vinie; don't be oneasy.
+
+    Some loves ten, an' some loves twenty,
+    But I loves you, Vinie, an' dat is a plenty.
+
+    Oh silver, it shine, an' lakwise do tin.
+    De way I loves Vinie, it mus' be a sin.
+
+    Well, de cedar is green, an' so is de pine.
+    God bless you, Vinie! I wish you 'us mine.
+
+
+
+
+LOVE SONG RHYME SECTION
+
+
+SHE HUGGED ME AND KISSED ME
+
+    I see'd her in de Springtime,
+    I see'd her in de Fall,
+    I see'd her in de Cotton patch,
+    A cameing from de Ball.
+
+    She hug me, an' she kiss me,
+    She wrung my han' an' cried.
+    She said I wus de sweetes' thing
+    Dat ever lived or died.
+
+    She hug me an' she kiss me.
+    Oh Heaben! De touch o' her han'!
+    She said I wus de puttiest thing
+    In de shape o' mortal man.
+
+    I told her dat I love her,
+    Dat my love wus bed-cord strong;
+    Den I axed her w'en she'd have me,
+    An' she jes say "Go long!"
+
+
+IT IS HARD TO LOVE
+
+    It's hard to love, yes, indeed 'tis.
+    It's hard to be broke up in min'.
+    You'se all lugged up in some gal's heart,
+    But you hain't gwineter lug up in mine.
+
+
+ME AND MY LOVER
+
+    Me an' my Lover, we fall out.
+    How d'you reckon de fuss begun?
+    She laked licker, an' I laked fun,
+    An' dat wus de way de fuss begun.
+
+    Me an' my Lover, we fall out.
+    W'at d'you reckon de fuss wus 'bout?
+    She loved bitters, an' I loved kraut,
+    An' dat wus w'at de fuss wus 'bout.
+
+    Me an' my Lover git clean 'part.
+    How d'you reckon dat big fuss start?
+    She's got a gizzard, an' I'se got a heart,
+    An' dat's de way dat big fuss start.
+
+
+I WISH I WAS AN APPLE
+
+    Oh:   I wish I wus an apple,
+          An' my Sallie wus anudder.
+          What a pretty match we'd be,
+          Hangin' on a tree togedder!
+
+    But:  If I wus an apple,
+          An' my Sallie wus anudder;
+          We'd grow up high, close to de sky,
+          Whar de Niggers couldn' git 'er.
+
+          We'd grow up close to de sun
+          An' smile up dar above;
+          Den we'd fall down 'way in de groun'
+          To sleep an' dream 'bout love.
+
+    And:  W'en we git through a dreamin',
+          We'd bofe in Heaben wake.
+          No Nigger shouldn' git my gal
+          W'en 'is time come to bake.
+
+
+REJECTED BY ELIZA JANE
+
+    W'en I went 'cross de cotton patch
+    I give my ho'n a blow.
+    I thought I heared pretty Lizie say:
+    "Oh, yon'er come my beau!"
+
+    So: I axed pretty Lizie to marry me,
+        An' what d'you reckon she said?
+        She said she wouldn' marry me,
+        If ev'ybody else wus dead.
+
+    An': As I went up de new cut road,
+         An' she go down de lane;
+         Den I thought I heared somebody say:
+         "Good-bye, ole Lize Jane!"
+
+    Well: Jes git 'long, Lizie, my true love.
+          Git 'long, Miss Lizie Jane.
+          Perhaps you'll [34]sack "Ole Sour Bill"
+          An' git choked on "Sugar Cain."
+
+[34] Sack = To reject as a lover.
+
+
+
+
+COURTSHIP RHYME SECTION
+
+
+ANTEBELLUM COURTSHIP INQUIRY
+
+    (He)  Is you a flyin' lark or a settin' dove?
+    (She) I'se a flyin' lark, my honey Love.
+    (He)  Is you a bird o' one fedder, or a bird o' two?
+    (She) I'se a bird o' one fedder, w'en it comes to you.
+    (He)  Den, Mam:
+            I has desire, an' quick temptation,
+            To jine my fence to yō' plantation.
+
+
+INVITED TO TAKE THE ESCORT'S ARM
+
+    Miss, does you lak strawberries?
+    ____*____*____*____*____*____
+    Den hang on de vine.
+    ____*____*____*____*____*____
+    Miss, does you lak chicken?
+    ____*____*____*____*____*____
+    Den have a wing dis time.
+
+
+SPARKING OR COURTING
+
+    I'se heaps older dan three.
+    I'se heaps thicker dan barks;
+    An' de older I gits,
+    De mō' harder I sparks.
+
+    I sparks fast an' hard,
+    For I'se feared I mought fail.
+    Dough I'se gittin' ole,
+    I don't co't lak no snail.
+
+
+A CLANDESTINE LETTER
+
+    Kind Miss:  If I sent you a letter,
+                By de crickets,
+                Through de thickets,
+                How'd you answer better?
+
+    Kind Suh:   I'd sen' you a letter,
+                By de mole,
+                Not to be tōl';
+                Fer dat's mō' secretter.
+
+
+ANTEBELLUM MARRIAGE PROPOSAL
+
+(_A proposal of marriage with the answer deferred_)
+
+    (He)  De ocean, it's wide; de sea, it's deep.
+          Yes, in yō' arms I begs to sleep,
+          Not fer one time, not fer three;
+          But long as we-uns can agree.
+
+    (She) Please gimme time, Suh, to "reponder;"
+          Please gimme time to "gargalize;"
+          Den 'haps I'll tu'n to "cattlegog,"
+          An' answer up 'greeable fer a s'prise.
+
+
+IF YOU FROWN
+
+    If you frowns, an' I frowns,
+    W'en we goes out togedder;
+    Den all de t'other folks aroun'
+    Will say: "De rain is fallin' down
+    Right in de sunshine wedder!"
+
+
+"LET'S MARRY" COURTSHIP
+
+(_A proposal of marriage, with a provisional acceptance_)
+
+    (He)  Oh Miss Lizie, how I loves you!
+          My life's jes los' if you hain't true.
+          If you loves me lak I loves you,
+          No knife cain't cut our love in two.
+
+    (She) Grapevine warp, an' cornstalk fillin';
+          I'll marry you if mammy an' daddy's willin'.
+
+    (He)  Rabbit hop an' long dog trot!
+          Let's git married if dey say "not."
+
+
+COURTSHIP
+
+(_A proposal of marriage with its acceptance_)
+
+    Kind Miss:  I'se on de stage o' action,
+                Pleadin' hard fer satisfaction,
+                Pleadin' 'fore de time-thief late;
+                Darfore, Ma'm, now, [35]"cravenate."
+
+                If I brung to you a gyarment;
+                To be cut widout scissors,
+                An' to be sewed widout thread;
+                How (I ax you) would you make it,
+                Widout de needle sewin'
+                An' widout de cloth spread?
+
+    Kind Suh:   I'd make dat gyarment
+                Wid love from my heart,
+                Wid tears on yō' head;
+                We never would part.
+
+[35] Cravenate = consider.
+
+
+I WALKED THE ROADS
+
+    Well: I walked de roads, till de roads git muddy.
+          I talked to dat pretty gal, till I couldn' stan' study.
+
+    Den:  I say: "Love me liddle," I say; "Love me long."
+          I say: "Let dat liddle be 'doggone' strong!
+          For, shore as dat rat runs 'cross de rafter,
+          So shore you'se de gal, you'se de gal I'se after."
+
+
+PRESENTING A HAT TO PHOEBE
+
+    Sister Phoebe:  Happy wus we,
+                    W'en we sot under dat Juniper tree.
+                    Take dis hat, it'll keep yō' head warm.
+                    Take dis kiss, it'll do you no harm.
+
+    Sister Phoebe:  De hours, dey're few;
+                    But dis hat'll say I'se thinkin' 'bout you.
+                    Sugar, it's sugar; an' salt, it's salt;
+                    If you don't love me, it's shō' yō' own fault.
+
+
+WOOING
+
+    W'at is dat a wukin
+    At yō' han' bill on de wall,
+    So's yō' sperit, it cain't res',
+    An' a gemmun's heat, it call?
+
+    Is you lookin' fer sweeter berries
+    Growin' on a higher bush?
+    An' does my combersation suit?
+    If not, w'at does you wush?
+
+
+
+
+COURTSHIP SONG RHYME SECTION
+
+
+THE COURTING BOY
+
+    W'en I wus a liddle boy,
+    Jes fifteen inches high;
+    De way I court de pretty gals,
+    It make de ole folks cry.
+
+    De geese swim in de middle pon'.
+    De ducks fly 'cross de clover.
+    Run an' tell dem pretty gals,
+    Dat I'se a-comin' over.
+
+    Ho! Marindie! Ho!
+    Ho! Missindie! Ho!
+    Ho! Malindie! Ho! my gal!
+    I'se gwine now to see ole Sal.
+
+
+PRETTY POLLY ANN
+
+    I'se gwineter marry, if I can.
+    I'se gwineter marry pretty Polly Ann.
+
+    I axed Polly Ann, fer to marry me.
+    She say she's a-lookin' fer a Nigger dat's free.
+
+    Pretty Polly Ann's jes dressed so fine!
+    I'll bet five dollars she hain't got a dime.
+
+    Pretty Polly Ann's jes a-puttin' on airs,
+    She won't notice me, but nobody cares.
+
+    I'll drop Polly Ann, a-lookin' lak a crane;
+    I 'spec's I'll marry Miss Lize Jane.
+
+
+
+
+MARRIAGE RHYME SECTION
+
+
+SLAVE MARRIAGE CEREMONY SUPPLEMENT
+
+    Dark an' stormy may come de wedder;
+    I jines dis he-male an' dis she-male togedder.
+    Let none, but Him dat makes de thunder,
+    Put dis he-male an' dis she-male asunder.
+    I darfore 'nounce you bofe de same.
+    Be good, go 'long, an' keep up yō' name.
+    De broomstick's jumped, de worl's not wide.
+    She's now yō' own. Salute yō' bride!
+
+
+
+
+MARRIED LIFE RHYME SECTION
+
+
+THE NEWLY WEDS
+
+    First Mont': "Set down in my cabin, Honey!"
+     Nex' Mont': "Stan' up, my Pie."
+    Third Mont': "You go to wuk, you Wench!
+                  You well to wuk as I!"
+
+
+WHEN I GO TO MARRY
+
+    W'en I goes to marry,
+    I wants a gal wid money.
+    I wants a pretty black-eyed gal
+    To kiss an' call me "Honey."
+
+    Well, w'en I goes to marry,
+    I don't wanter git no riches.
+    I wants a man 'bout four foot high,
+    So's I can w'ar de britches.
+
+
+BOUGHT ME A WIFE
+
+    Bought me a wife an' de wife please me,
+    I feeds my wife un'er yon'er tree.
+    My wife go: "Row-row!"
+    My guinea go: "Potrack! Potrack!"
+    My chicken go: "Gymsack! Gymsack!"
+    My duck go: "Quack-quack! Quack-quack!"
+    My dog go: "Bow-bow!"
+    My hoss go: "Whee-whee! Whee-whee!"
+    My cat go: "Fiddle-toe! Fiddle-toe!"
+
+
+WHEN I WAS A "ROUSTABOUT"
+
+    W'en I wus a "Roustabout," wild an' young,
+    I co'ted my gal wid a mighty slick tongue.
+    I tōl' her some oncommon lies dere an' den.
+    I tōl' her dat we'd marry, but I didn' say w'en.
+
+    So on a Mond'y mornin' I tuck her fer my wife.
+    Of co'se I wus 'spectin' an agreeable life.
+    But on a Chuesd'y mornin' she chuned up her pipe,
+    An' she 'bused me more 'an I'd been 'bused all my life.
+
+    On a Wednesd'y evenin', as I come 'long home,
+    I says to myse'f dat she wus all my own;
+    An' on a Thursd'y night I went out to de woods,
+    An' I cut me two big fine tough leatherwoods.
+
+    So on a Frid'y mornin' w'en she roll me 'er eyes,
+    I retched fer my leatherwoods to give 'er a s'prise,
+    Dem long keen leatherwoods wuked mighty well,
+    An' 'er tongue, it jes rattle lak a clapper in a bell.
+
+    On a Sadd'y mornin' she sleep sorter late;
+    An' de las' time I see'd her, she 'us gwine out de gate.
+    I wus feedin' at de stable, lookin' out through a crack,
+    An' she lef' my log cabin 'fore I could git back.
+
+    On a Sund'y mornin', as I laid on my bed,
+    I didn' have no Nigger wife to bother my head.
+    Now whisky an' brandy jug's my biges' bes' friend,
+    An' my long week's wuk is about at its end.
+
+
+MY FIRST AND MY SECOND WIFE
+
+    My fust liddle wife wus short an' fat.
+    Her face wus as black as my ole hat,
+    Her nose all flat, an' her eyes sunk in,
+    An' dat lip hang down below her chin.
+        Now wusn't I sorrowful in mind?
+
+    W'en I went down to dat wife's brother;
+    He said: "She 'us tired. Gwineter marry 'nother."
+    If I ever ketches dat city Coon,
+    He railly mought see my razzer soon.
+        Den I 'spec's he'd be troubled in mind!
+
+    My nex' wife hug an' kiss me,
+    She call me "Sugar Plum!"
+    She throw her arms 'round me,
+    Lak a grapevine 'round de gum!
+        Wusn't dat glory to my soul!
+
+    Her cheeks, dey're lak de cherry;
+    Dat Cherry, it's lak de rose.
+    Wid a liddle dimple in her chin,
+    An' a liddle tu'ned up nose!
+        Oh, hain't I happy in mind!
+
+    I'se got you, Lou, now fer my wife.
+    Keep new Coons 'way, "My Pie!"
+    Caze, if you don't, I tells you now,
+    Dat we all three mought die.
+        Den we'd be troubled in min'!
+
+
+GOOD-BY, WIFE!
+
+    I had a liddle wife,
+    An' I didn' want to kill 'er;
+    So I tuck 'er by de heels,
+    An' I throwed 'er in de river.
+    "Good-by, Wife! Good-by, Honey!
+    Hadn' been fer you,
+    I'd a had a liddle money."
+
+    My liddle fussy wife
+    Up an' say she mus' have scissors;
+    An' druther dan to fight,
+    I'd a throwed 'er in three rivers.
+    But she crossed dem fingers, w'en she go down,
+    An' a liddle bit later
+    She walk out on de groun'.
+
+
+
+
+NURSERY RHYME SECTION
+
+
+[36]AWFUL HARBINGERS
+
+    W'en de big owl whoops,
+    An' de screech owl screeks,
+    An' de win' makes a howlin' sound;
+    You liddle wooly heads
+    Had better kiver up,
+    Caze de "hants" is comin' 'round.
+
+[36] This little rhyme is based upon a superstition once current among
+Negroes, to the effect that bad luck would come when a screech owl
+called near your home at night unless, upon hearing him, you would stick
+the handle of a shovel into the fire about which you were sitting, or
+would throw salt into it. The word "hant" means ghost or spirit.
+
+
+THE LAST OF JACK
+
+    I had a liddle dog, his name wus Jack;
+    He run forty mile 'fore he look back.
+    W'en he look back, he fall in a crack;
+    W'en he fall in a crack, he break 'is back;
+    An' dat wus de las' o' poor liddle Jack.
+
+
+LITTLE DOGS
+
+    I had a liddle dog; his name wus Ball;
+    W'en I give him a liddle, he want it all.
+
+    I had a liddle dog, his name wus Trot;
+    He helt up his tail, all tied in a knot.
+
+    I had a liddle dog, his name wus Blue;
+    I put him on de road, an' he almos' flew.
+
+    I had a liddle dog, his name wus Mack;
+    I rid his tail fer to save his back.
+
+    I had a liddle dog, his name wus Rover;
+    W'en he died, he died all over.
+
+    I had a liddle dog, his name wus Dan;
+    An' w'en he died, I buried 'im in de san'.
+
+
+MY DOG, CUFF
+
+    I had a liddle dog, his name wus Cuff;
+    I sent 'im to town to buy some snuff.
+    He drapped de bale, an' he spilt de snuff,
+    An' I guess dat speech is long enough.
+
+
+SAM IS A CLEVER FELLOW
+
+    Say! Is yō' peaches ripe, my boy,
+    An' is yō' apples meller?
+    Go an' tell Miss Katie Jones
+    Dat Sam's a clever feller.
+
+    Say! Is yō' cherries red, my boy,
+    An' is yō' plums all yeller?
+    Oh please run tell Miss Katie Jones
+    Dat Sam's a clever feller.
+
+
+THE GREAT OWL'S SONG
+
+    Ah-hoo-hoo? Ah-hoo-hoo? Ah-hoo-hoo----?
+    An' who'll cook fer Kelline, an' who'll cook fer you----?
+    I will cook fer myse'f, I won't cook fer you.
+    Ah-hoo-hoo! Ah-hoo-hoo! Ah-hoo----!
+
+    Ah-hoo-hoo! Ah-hoo-hoo! Ah-hoo-hoo! Ah-hoo----!
+    I wonder if Kelline would not cook fer Hue----?
+    Fer dis is Big Sandy! It's Big Sandy Hue----!
+    Ah-hoo-hoo! Ah-hoo-hoo! Ah-hoo-hoo! Ah-hoo----!
+
+    Ah-ha-hah! Ah-ha-hah! Ah-ha-hah! Ah-hah----!
+    I thought you 'us ole Bill Jack as black as de tah.
+    You really must 'scuse me, my "Honey Lump Pa."
+    Ah-ha-hah! Ah-ha-hah! Ah-ha-hah! Ah-hah----!
+
+    An' since I'se been Kelline, an' you'se Big Sandy Hue;
+    I will cook fer myse'f, an' I will cook fer you.
+    I'll love you forever, an' sing in de dew:
+    "Ah-hoo-hoo! Ah-hoo-hoo! Ah-hoo-hoo! Ah-hoo----!"
+
+    Yes!--Ah-hoo-hoo! Ah-hoo-hoo! Ah-hoo-hoo! Ah-hoo-all!
+    Now, we'll cook fer ourse'fs, but who'll cook fer you all?
+    Fer Tom Dick an' his wife, fer Pete Snap an' Shoe-Awl,
+    Rough Shot De Shoe-boot, an' de Lawd He knows who all?
+
+
+HERE I STAND
+
+    Here I stan', raggity an' dirty;
+    If you don't come kiss me, I'll run lak a tucky.
+
+    Here I stan' on two liddle chips,
+    Pray, come kiss my sweet liddle lips.
+
+    Here I stan' crooked lak a horn;
+    I hain't had no kiss since I'se been born.
+
+
+PIG TAIL
+
+    Run boys, run!
+    De pig tail's done.
+    If you don't come quick,
+    You won't git none.
+
+    Pig ham's dere,
+    Lakwise middlin's square;
+    But dese great big parts
+    Hain't no Nigger's bes' fare.
+
+
+A, B, C
+
+    A, B, C,
+    Doubled down D;
+    I'se so lazy you cain't see me.
+
+    A, B, C,
+    Doubled down D
+    Lazy Chilluns gits hick'ry tea.
+
+    A, B, C,
+    Doubled down D,
+    Dat "cat's" in de cupboard an' hid. You see?
+
+    A, B, C,
+    Doubled down D,
+    You'd better come out an' wuk lak me.
+
+
+NEGRO BAKER MAN
+
+    Patty cake! Patty cake! Nigger Baker man.
+    Missus an' Mosser gwineter ketch 'im if dey can.
+    Put de liddle Nigger in Mosser's dish pan,
+    An' scrub 'im off good fer de ole San' Man.
+
+
+STICK-A-MA-STEW
+
+    Stick-a-ma-stew, he went to town.
+    Stick-a-ma-stew, he tore 'is gown.
+    All dem folks what live in town
+    Cain't mend dat randsome, handsome gown.
+
+
+BOB-WHITE'S SONG
+
+    Bob-white! Bob-white!
+    Is yō' peas all ripe?
+    No--! not--! quite!
+
+    Bob-white! Bob-white!
+    W'en will dey be ripe?
+    To-mor--! row--! might!
+
+    Bob-white! Bob-white!
+    Does you sing at night?
+    No--! not--! quite!
+
+    Bob-white! Bob-white!
+    W'en is de time right?
+    At can--! dle--! light!
+
+
+COOKING DINNER
+
+    Go:   Bile dem cabbage down.
+          Turn dat hoecake 'round,
+          Cook it done an' brown.
+
+    Yes:  Gwineter have sweet taters too.
+          Hain't had none since las' Fall,
+          Gwineter eat 'em skins an' all.
+
+
+CHUCK WILL'S WIDOW SONG
+
+    Oh nimber, nimber Will-o!
+    My crooked, crooked bill-o!
+    I'se settin' down right now, on
+      de sweet pertater hill-o.
+
+    Oh nimber, nimber Will-o!
+    My crooked, crooked bill-o!
+    Two liddle naked babies, my two
+      brown aigs now fill-o.
+
+    Oh nimber, nimber Will-o!
+    My crooked, crooked bill-o!
+    Don't hurt de liddle babies; dey
+      is too sweet to kill-o.
+
+
+BRIDLE UP A RAT
+
+    Bridle up er rat,
+    Saddle up er cat,
+    An' han' me down my big straw hat.
+
+    In come de cat,
+    Out go de rat,
+    Down go de baby wid 'is big straw hat.
+
+
+MY LITTLE PIG
+
+    You see:  I had a liddle pig,
+              I fed 'im on slop;
+              He got so fat
+              Dat he almos' pop.
+
+    An' den:  I tuck de liddle pig,
+              An' I rid 'im to school;
+              He e't ginger cake,
+              An' it tu'n 'im a fool.
+
+    But:      He grunt de lessons,
+              An' keep all de rule,
+              An' he make 'em all think
+              Dat he learn in de cool.
+
+
+IN A MULBERRY TREE
+
+    Jes looky, looky yonder; w'at I see!
+    Two liddle Niggers in a Mulberry tree.
+    One cain't read, an' de t'other cain't write.
+    But dey bofe can smoke deir daddy's pipe.
+
+    "One ma two! One ma two!"
+    Dat Mulberry Witch, he [37]titterer too.
+    "Big bait o' Mulberries make 'em bofe sick.
+    Dem liddle Niggers gwineter roll an' kick!"
+
+[37] Titterer means laugh.
+
+
+ANIMAL ATTIRE
+
+    Dat Coon, he w'ar a undershirt;
+    Dat 'Possum w'ar a gown.
+    Br'er Rabbit, he w'ar a overcoat
+    Wid buttons up an' down.
+
+    Mistah Gobbler's got beads 'roun' 'is nec'.
+    Mistah Pattridge's got a collar, Hun!
+    Mistah Peacock, a fedder on his head!
+    But dese don't stop no gun.
+
+
+ASPIRATION
+
+    If I wus de President
+    Of dese United States,
+    I'd eat good 'lasses candy,
+    An' swing on all de gates.
+
+
+ANIMAL FAIR
+
+    Has you ever hearn tell 'bout de Animal Fair?
+    Dem birds an' beasts wus all down dere.
+    Dat jaybird a-settin' down on 'is wing!
+    Has you ever hearn tell about sitch a thing
+    As whut 'us at dat Animal Fair?
+
+    Well, dem animals had a Fair.
+    Dem birds an' beasts wus dere.
+    De big Baboon,
+    By de light o' de moon,
+    Jes comb up his sandy hair.
+
+    De monkey, he git drunk,
+    He kick up a red hot chunk.
+    Dem coals, dey 'rose;
+    An' bu'nt 'is toes!
+    He clumb de Elephan's trunk.
+
+    I went down to de Fair.
+    Dem varmints all wus dere.
+    Dat young Baboon
+    Wunk at Miss Coon;
+    Dat curled de Elephan's hair.
+
+    De Camel den walk 'bout,
+    An' tromped on de Elephan's snout.
+    De Elephan' sneeze,
+    An' fall on his knees;
+    Dat pleased all dem monkēys.
+
+
+LITTLE BOY WHO COULDN'T COUNT SEVEN
+
+    Once der wus a liddle boy dat couldn' count one.
+    Dey pitched him in a fedder bed; 'e thought it great big fun.
+
+    Once der wus a liddle boy dat couldn' count two.
+    Dey pitched him in a fedder bed; 'e thought 'e 'us gwine through.
+
+    Once der wus a liddle boy dat couldn' count three.
+    Dey pitched him in a fedder bed; 'e thought de Niggers 'us free.
+
+    Once der wus a liddle boy dat couldn' count fō'.
+    Dey pitched him in a fedder bed; 'e jumped out on de flō'.
+
+    Once der wus a liddle boy dat couldn' count five.
+    Dey pitched him in a fedder bed; 'e thought de dead alive.
+
+    Once der wus a liddle boy dat couldn' count six.
+    Dey pitched him in a fedder bed; 'e never did git fix!
+
+    Once der wus a liddle boy dat couldn' count seben.
+    Dey pitched him in a fedder bed; 'e thought he's gwine to Heaben!
+
+
+MISS TERRAPIN AND MISS TOAD
+
+    As I went marchin' down de road,
+    I met Miss Tearpin an' I met Miss Toad.
+    An' ev'ry time Miss Toad would jump,
+    Miss Tearpin would peep from 'hind de stump.
+
+    I axed dem ladies fer to marry me,
+    An' bofe find fault wid de t'other, you see.
+    "If you marries Miss Toad," Miss Tearpin said,
+    "You'll have to hop 'round lak you'se been half dead!"
+
+    "If you combs yō' head wid a Tearpin comb,
+    You'll have to creep 'round all tied up at home."
+    I run'd away frum dar, my foot got bruise,
+    For I didn't know zackly which to choose.
+
+
+FROM SLAVERY
+
+    Chile: I come from out'n slavery,
+    Whar de Bull-whup bust de hide;
+    Back dar, whar dis gineration
+    Natchully widdered up an' died!
+
+
+THE END OF TEN LITTLE NEGROES
+
+    Ten liddle Niggers, a-eatin', fat an' fine;
+    One choke hisse'f to death, an' dat lef' nine.
+    Nine liddle Niggers, dey sot up too late;
+    One sleep hisse'f to death, an' dat lef' eight.
+    Eight liddle Niggers want to go to Heaben;
+    One sing hisse'f to death, an' dat lef' seben.
+    Seben liddle Niggers, a-pickin' up sticks;
+    One wuk hisse'f to death, an' dat lef' six.
+    Six liddle Niggers went out fer to drive;
+    Mule run away wid one, an' dat lef' five.
+    Five liddle Niggers in a cold rain pour;
+    One coughed hisse'f to death, an' dat lef' four.
+    Four liddle Niggers, climb a' apple tree;
+    One fall down an' out, an' dat lef' three.
+    Three liddle Niggers a-wantin' sumpin new;
+    One, he quit de udders, an' dat lef' two.
+    Two liddle Niggers went out fer to run;
+    One fell down de bluff, an' dat lef' one.
+    One liddle Nigger, a-foolin' wid a gun;
+    Gun go off "bang!" an' dat lef' none.
+
+
+THE ALABAMA WAY
+
+    'Way down yon'er "in de Alerbamer way,"
+    De Niggers goes to wo'k at de peep o' de day.
+    De bed's too short, an' de high posts rear;
+    De Niggers needs a ladder fer to climb up dere.
+    De cord's wore out, an' de bed-tick's gone.
+    Niggers' legs hang down fer de chickens t' roost on.
+
+
+MOTHER SAYS I AM SIX YEARS OLD
+
+    My mammy says dat I'se too young
+    To go to Church an' pray;
+    But she don't know how bad I is
+    W'en she's been gone away.
+
+    My mammy says I'se six years old,
+    My daddy says I'se seben.
+    Dat's all right how old I is,
+    Jes since I'se a gwine to Heaben.
+
+
+THE ORIGIN OF THE SNAKE
+
+    Up de hill an' down de level!
+    Up de hill an' down de level!
+    Granny's puppy treed de Devil.
+
+    Puppy howl, an' Devil shake!
+    Puppy howl, an' Devil shake!
+    Devil leave, an' dere's yō' snake.
+
+    Mash his head; de sun shine bright!
+    Mash his head; de sun shine bright!
+    Tail don't die ontel it's night.
+
+    Night come on, an' sperits groan!
+    Night come on, an' sperits groan!
+    Devil come an' gits his own.
+
+
+WILD HOG HUNT
+
+    Nigger in de woods, a-settin' on a log;
+    Wid his finger on de trigger, an' his eyes upon de hog.
+    De gun say "bam!" an' de hog say "bip!"
+    An' de Nigger grab dat wild hog wid all his grip.
+
+
+A STRANGE BROOD
+
+    De ole hen sot on tucky aigs,
+    An' she hatch out goslin's three.
+    Two wus tuckies wid slender legs,
+    An' one wus a bumblebee.
+    All dem hens say to one nudder:
+    "Mighty queer chickens! See?"
+
+
+THE TOWN AND THE COUNTRY BIRD
+
+    Jaybird a-swingin' a two hoss plow;
+    "Sparrer, why not you?"
+    "W'y--! My legs so liddle an' slender, man,
+    I'se fear'd dey'd break in two."
+
+    Jaybird answer: "What'd you say?--
+    I sometimes worms terbaccy;
+    But I'd druther plow sweet taters too,
+    Dan to be a ole Town Tacky!"
+
+    Jaybird up in de Sugar tree,
+    De sparrer on de groun';
+    De jaybird shake de sugar down,
+    An' de sparrer pass it 'roun'.
+
+    De jaybird say: "Save some fer me;
+    I needs it w'en I bakes."
+    De sparrer say: "Use 'lasses, Suh!
+    Dat suits fer Country-Jakes!"
+
+
+FROG IN A MILL ([38]GUINEA OR EBO RHYME)
+
+    Once dere wus er frog dat lived in er mill.
+    He had er raker don la bottom o' la kimebo
+    Kimebo, nayro, dilldo, kiro
+    Stimstam, formididdle, all-a-board la rake;
+    Wid er raker don la bottom o' la kimebo.
+
+[38] For explanation, read the Study in Negro Folk Rhymes.
+
+
+STRONG HANDS
+
+    Here's yō' bread, an' here's yō' butter;
+    An' here's de hands fer to make you sputter.
+
+    Tetch dese hands, w'en you wants to tetch a beaver.
+    If dese hands tetch you, you'll shō' ketch de fever.
+
+    Dese hands Samson, good fer a row,
+    W'en dey hits you, it's "good-by cow!"
+
+
+TREE FROGS (GUINEA OR EBO RHYME)
+
+    Shool! Shool! Shool! I rule!
+    Shool! Shool! Shool! I rule!
+    Shool! Shacker-rack!
+    I shool bubba cool.
+
+    Seller! Beller eel!
+    Fust to ma tree'l
+    Just came er bubba.
+    Buska! Buska-reel!
+
+
+WHEN I WAS A LITTLE BOY
+
+    W'en I wus a liddle boy
+    I cleaned up mammy's dishes;
+    Now I is a great big boy,
+    I wears my daddy's britches.
+    I can knock dat Mobile Buck
+    An' smoke dat corncob pipe.
+    I can kiss dem pretty gals,
+    An' set up ev'ry night.
+
+
+GRASSHOPPER SENSE
+
+    Dere wus a liddle grasshopper
+    Dat wus always on de jump;
+    An' caze he never look ahead,
+    He wus always gittin' a bump.
+
+    Huddlety, dumpty, dumpty, dump!
+    Mind out, or you will git a bump;
+    Shore as de grass grows 'round de stump
+    Be keerful, my sweet Sugar Lump.
+
+
+YOUNG MASTER AND OLD MASTER
+
+    Hick'ry leaves an' calico sleeves!
+    I tells you young Mosser's hard to please.
+    Young Mosser fool you, de way he grin.
+    De way he whup you is a sin.
+
+    De monkey's a-settin' on de end of a rail,
+    Pickin' his tooth wid de end of his tail.
+    Mulberry leaves an' homespun sleeves!
+    Better know dat ole Mosser's not easy to please.
+
+
+MY SPECKLED HEN
+
+    Somebody stole my speckled hen.
+    Dey lef' me mighty pōo'.
+    Ev'ry day she layed three aigs,
+    An' Sunday she lay fō'.
+
+    Somebody stole my speckled hen.
+    She crowed at my back dō'.
+    Fedders, dey shine jes lak de sun;
+    De Niggers grudged her mō'.
+
+    [39]De whis'lin' gal, an' de crowin' hen,
+    Never comes to no good en'.
+    Stop dat whis'lin'; go on an' sing!
+    'Member dat hen wid 'er shinin' wing.
+
+[39] An old superstition.
+
+
+THE SNAIL'S REPLY
+
+    Snail! Snail! Come out'n o' yō' shell,
+    Or I'll beat on yō' back till you rings lak a bell.
+
+    "I do ve'y well," sayed de snail in de shell,
+    "I'll jes take my chances in here whar I dwell."
+
+
+A STRANGE FAMILY
+
+    Once dere's an ole 'oman dat lived in de Wes'.
+    She had two gals of de very bes'.
+    One wus older dan de t'other,
+    T'other's older dan her mother,
+    An' dey're all deir own gran'mother.
+    Can you guess?
+
+
+GOOD-BY, RING
+
+    I had a liddle dog, his name wus Ring,
+    I tied him up to his nose wid a string.
+    I pulled dat string, an' his eyes tu'n blue.
+    "Good-by, Ring! I'se done wid you."
+
+
+DEEDLE, DUMPLING
+
+    Deedle, deedle, dumplin'! My boy, Pete!
+    He went to bed wid his dirty feet.
+    Mammy laid a switch down on dat sheet!
+    Deedle, deedle, dumplin'! My boy, Pete!
+
+
+BUCK AND BERRY
+
+    Buck an' Berry run a race,
+    Buck fall down an' skin his face.
+
+    Buck an' Berry in a stall;
+    Buck, he try to eat it all.
+
+    Buck, he e't too much, you see.
+    So he died wid choleree.
+
+
+PRETTY LITTLE GIRL
+
+    Who's been here since I'se been gone?
+      A pretty liddle gal wid a blue dress on.
+
+    Who'll stay here when I goes 'way?
+      A pretty liddle gal, all dressed in gray.
+
+    Who'll wait on Mistess day an' night?
+      A pretty liddle gal, all dressed in white.
+
+    Who'll be here when I'se been dead?
+      A pretty liddle gal, all dressed in red.
+
+
+TWO SICK NEGRO BOYS
+
+    Two liddle Niggers sick in bed,
+    One jumped up an' bumped his head.
+    W'en de Doctah come he simpully said:
+    "Jes feed dat boy on shorten' bread."
+
+    T'other liddle Nigger sick in bed,
+    W'en he hear tell o' shorten' bread,
+    Popped up all well. He dance an' sing!
+    He almos' cut dat Pigeon's Wing!
+
+
+GRASSHOPPER SITTING ON A SWEET POTATO VINE
+
+    Grasshopper a-settin' on a sweet tater vine,
+    'Long come a Blackbird an' nab him up behind.
+
+    Blackbird a-settin' in a sour apple tree;
+    Hawk grab him up behind; he "Chee! Chee! Chee!"
+
+    Big hawk a-settin' in de top of dat oak,
+    Start to eat dat Blackbird an' he git choke.
+
+
+DOODLE-BUG
+
+    Doodle-bug! Doodle-bug! Come git sweet milk.
+    Doodle-bug! Doodle-bug! Come git butter.
+    Doodle-bug! Doodle-bug! Come git co'n bread.
+    Doodle-bug! Doodle-bug! Come on to Supper.
+
+
+[40]RAW HEAD AND BLOODY BONES
+
+    Don't talk! Go to sleep!
+    Eyes shet an' don't you peep!
+    Keep still, or he jes moans:
+    "Raw Head an' Bloody Bones!"
+
+[40] Repeated to restless children at night to make them lie still and
+go to sleep.
+
+
+MYSTERIOUS FACE WASHING
+
+    I wash my face in de watah
+    Dat's neider rain nor run.
+    I wipes my face on de towel
+    Dat's neider wove nor spun.--
+    I wash my face in de dew,
+    An' I dries it in de sun.
+
+
+GO TO BED
+
+    De wood's in de kitchen.
+    De hoss's in de shed.
+    You liddle Niggers
+    Had better go to bed.
+
+
+[41]BUCK-EYED RABBIT! WHOOPEE!
+
+    Dat Squir'l, he's a cunnin' thing;
+    He tote a bushy tail.
+    He jes lug off Uncle Sambo's co'n,
+    An' heart it on a rail.
+
+    Dat Squir'l, he's a cunnin' thing;
+    An' so is ole Jedge B'ar.
+    Br'er Rabbit's gone an' los' his tail
+    'Cep' a liddle bunch of ha'r.
+
+    Buckeyed Rabbit! Whoopee!
+    Buckeyed Rabbit! Ho!
+    Buckeyed Rabbit! Whoopee!
+    Squir'l's got a long way to go.
+
+[41] The explanation of this rhyme is found in the Study in Negro Folk
+Rhymes.
+
+
+CAPTAIN COON
+
+    Captain Coon's a mighty man,
+    He trabble atter dark;
+    Wid nothin' 'tall to 'sturb his mind,
+    But to hear my ole dog bark.
+
+    Dat 'Possum, he's a mighty man,
+    He trabble late at night.
+    He never think to climb a tree,
+    'Till he's feared ole Rober'll bite.
+
+
+GUINEA GALL
+
+    'Way down yon'er in Guinea Gall,
+    De Niggers eats de fat an' all.
+    'Way down yon'er in de cotton fiel',
+    Ev'ry week one peck o' meal.
+    'Way down yon'er ole Mosser swar';
+    Holler at you, an' pitch, an' r'ar;
+        Wid cat o' nine tails,
+        Wid pen o' nine nails,
+        Tee whing, tee bing,
+        An' ev'ry thing!
+
+
+FISHING SIMON
+
+    Simon tuck his hook an' pole,
+    An' fished on Sunday we's been told.
+    Fish dem water death bells ring,
+    Talk from out'n de water, sing--
+    "Bait yō' hook, Simon!
+    Drap yō' line, Simon!
+    Now ketch me, Simon!
+    Pull me out, Simon!
+    Take me home, Simon!
+    Now clean me, Simon!
+    Cut me up now, Simon!
+    Now salt me, Simon!
+    Now fry me, Simon!
+    Dish me up now, Simon!
+    Eat me all, Simon!"
+    Simon e't till he wus full.
+    Still dat fish keep his plate fall.
+    Simon want no mō' at all,
+    Fish say dat he mus' eat all.
+    Simon's sick, so he throw up!
+    He give Sunday fishin' up.
+
+
+A STRANGE OLD WOMAN
+
+    Dere wus an ole 'oman, her name wus Nan.
+    She lived an 'oman, an' died a man.
+    De ole 'oman lived to be dried up an' cunnin';
+    One leg stood still, while de tother kep' runnin'.
+
+
+IN '76
+
+    Way down yonder in sebenty-six,
+    Whar I git my jawbone fix;
+    All dem coon-loons eatin' wid a spoon!
+    I'll be ready fer dat Great Day soon.
+
+
+REDHEAD WOODPECKER
+
+    Redhead woodpecker: "Chip! Chip! Chee!"
+    Promise dat he'll marry me.
+    Whar shall de weddin' supper be?
+    Down in de lot, in a rotten holler tree.
+    What will de weddin' supper be?
+    A liddle green worm an' a bumblebee,
+    'Way down yonder on de holler tree.
+    De Redhead woodpecker, "Chip! Chip! Chee!"
+
+
+OLD AUNT KATE
+
+    Jes look at Ole Aunt Kate at de gyardin gate!
+        She's a good ole 'oman.
+        W'en she sift 'er meal, she give me de husk;
+        W'en she cook 'er bread, she give me de crust.
+        She put de hosses in de stable;
+        But one jump out, an' skin his nable.
+    Jes look at Ole Aunt Kate at de gyardin gate!
+        Still she's always late.
+
+    Hurrah fer Ole Aunt Kate by de gyardin gate!
+        She's a fine ole 'oman.
+        Git down dat sifter, take down dat tray!
+        Go 'long, Honey, dere hain't no udder way!
+        She put on dat hoe cake, she went 'round de house.
+        She cook dat 'Possum, an' she call 'im a mouse!
+    Hurrah fer Ole Aunt Kate by de gyardin gate!
+        She's a fine playmate.
+
+
+CHILDREN'S SEATING RHYME
+
+    You set outside, an' ketch de cow-hide.
+    I'll set in de middle, an' play de gol' fiddle.
+    You set 'round about, an' git scrouged out.
+
+
+MY BABY
+
+    I'se de daddy of dis liddle black baby.
+    He's his mammy's onliest sweetest liddle Coon.
+    Got de look on de forehead lak his daddy,
+    Pretty eyes jes as big as de moon.
+
+    I'se de daddy of dis liddle black baby.
+    Yes, his mammy keep de "Sugar" rollin' over.
+    She feed him wid a tin cup an' a spoon;
+    An' he kick lak a pony eatin' clover.
+
+
+A RACE-STARTER'S RHYME
+
+    One fer de money!
+    Two fer de show!
+    Three to git ready,
+    An' four fer to go!
+
+
+NESTING
+
+    De jaybird build on a swingin' lim',
+    De sparrow in de gyardin;
+    Dat ole gray goose in de panel o' de fence,
+    An' de gander on de t'other side o' Jordan.
+
+
+BABY WANTS CHERRIES
+
+    De cherries, dey're red; de cherries, dey're ripe;
+    An' de baby it want one.
+    De cherries, dey're hard; de cherries, dey're sour;
+    An' de baby cain't git none.
+
+    Jes look at dat bird in de cherry tree!
+    He's pickin' 'em one by one!
+    He's shakin' his bill, he's gittin' it fill',
+    An' down dat th'oat dey run!
+
+    Nev' mind! Bye an' bye dat bird's gwineter fly,
+    An' mammy's gwineter make dat pie.
+    She'll give you a few, fer de baby cain't chew,
+    An' de Pickaninny sholy won't cry.
+
+
+A PRETTY PAIR OF CHICKENS
+
+    Dat box-legged rooster, an' dat bow-legged hen
+    Make a mighty pretty couple, not to be no kin.
+    Dey's jes lak some Niggers wearin' white folks ole britches,
+    Dey thinks dey's lookin' fine, w'en dey needs lots of stitches.
+
+
+TOO MUCH WATERMELON
+
+    Dere wus a great big watermillion growin' on de vine.
+    Dere wus a liddle ugly Nigger watchin' all de time.
+    An' w'en dat great big watermillion lay ripenin' in de sun,
+    An' de stripes along its purty skin wus comin' one by one,
+    Dat ugly Nigger pulled it off an' toted it away,
+    An' he e't dat great big watermillion all in one single day.
+    He e't de rinds, an' red meat too, he finish it all trim;
+    An' den,--dat great big watermillion up an' finish him.
+
+
+BUTTERFLY
+
+    Pretty liddle butterfly, yaller as de gold,
+    My sweet liddle butterfly, you shō' is mighty bold.
+    You can dance out in de sun, you can fly up high,
+    But you know I'se bound to git you, yet, my liddle butterfly.
+
+
+THE HATED BLACKBIRD AND CROW
+
+    Dat Blackbird say unto de Crow:
+    "Dat's why de white folks hates us so;
+    For ever since ole Adam wus born,
+    It's been our rule to gedder green corn."
+
+    Dat Blackbird say unto de Crow:
+    "If you's not black, den I don't know.
+    White folks calls you black, but I say not;
+    Caze de kittle musn' talk about de pot."
+
+
+IN A RUSH
+
+    Here I comes jes a-rearin' an' a-pitchin',
+    I hain't had no kiss since I lef' de ole kitchin.
+    Candy, dat's sweet; dat's very, very clear;
+    But a kiss from yō' lips would be sweeter, my dear.
+
+
+TAKING A WALK
+
+    We's a-walkin' in de green grass dust, dust, dust.
+    We's a-walkin' in de green grass dust.
+    If you's jes as sweet as I thinks you to be,
+    I'll take you by yō' liddle hand to walk wid me.
+
+
+PAYING DEBTS WITH KICKS
+
+    I owes yō' daddy a peck o' peas.
+    I'se gwineter pay it wid my knees.
+    I owes yō' mammy a pound o' meat;
+    An' I'se gwineter pay dat wid my feet.
+    Now, if I owes 'em somethin' mō';
+    You come right back an' let me know.
+    Please say to dem ('fore I fergets)
+    I never fails to pay my debts.
+
+
+GETTING TEN NEGRO BOYS TOGETHER
+
+    One liddle Nigger boy whistle an' stew,
+    He whistle up anudder Nigger an' dat make two.
+    Two liddle Nigger boys shuck de apple tree,
+    Down fall anudder Nigger, an' dat make three.
+    Three liddle Nigger boys, a-wantin' one more,
+    Never has no trouble a-gittin' up four.
+    Four liddle Nigger boys, dey cain't drive.
+    Dey hire a Nigger hack boy, an' dat make five.
+    Five liddle Niggers, bein' calcullated men,
+    Call anudder Nigger 'piece an' dat make ten.
+
+
+HAWK AND CHICKENS
+
+    Hen an' chickens in a fodder stack,
+    Mighty busy scratchin'.
+    Hawk settin' off on a swingin' lim',
+    Ready fer de catchin'.
+
+    Hawk come a-whizzin' wid his bitin' mouf,
+    Couldn' hold hisself in.
+    Hen, flyin' up, knock his eye clean out;
+    An' de Jaybird died a-laughin'.
+
+
+MUD-LOG POND
+
+    As I stepped down by de Mud-log pon',
+    I seed dat bullfrog wid his shoe-boots on.
+    His eyes wus glass, an' his heels wus brass;
+    An' I give him a dollar fer to let me pass.
+
+
+WHAT WILL WE DO FOR BACON?
+
+    What will we do fer bacon now?
+    I'se shot, I'se shot de ole sandy sow!
+    She jumped de fence an' broke de rail;
+    An'--"Bam!"--I shot her on de tail.
+
+
+A LITTLE PICKANINNY
+
+    Me an' its mammy is both gwine to town,
+    To git dis Pickaninny a liddle hat an' gown.
+    Don't you never let him waller on de flō'!
+    He's a liddle Pickaninny,
+    Born in ole Virginy.
+    Mammy! Don't de baby grow?
+
+    Setch a eatin' o' de honey an' a drinkin' o' de wine!
+    We's gwine down togedder fer to have a good time;
+    An' we's gwineter eat, an' drink mō' an' mō'.
+    Oh, sweet liddle [42]Pickaninny,
+    Born in ole Virginy.
+    Mammy! How de baby grow!
+
+[42] Pickanniny appears to have been an African word used by the early
+American slaves for the word baby.
+
+
+[43]DON'T SING BEFORE BREAKFAST
+
+    Don't sing out 'fore Breakfast,
+    Don't sing 'fore you eat,
+    Or you'll cry out 'fore midnight,
+    You'll cry 'fore you sleep.
+
+[43] A superstition.
+
+
+MY FOLKS AND YOUR FOLKS
+
+    If you an' yō' folks
+    Likes me an' my folks,
+    Lak me an' my folks,
+    Likes you an' yō' folks;
+    You's never seed folks,
+    Since folks 'as been folks,
+    Like you an' yō' folks,
+    Lak me an' my folks.
+
+
+LITTLE SLEEPING NEGROES
+
+    One liddle Nigger a-lyin' in de bed;
+    His eyes shet an' still, lak he been dead.
+
+    Two liddle Niggers a-lyin' in de bed;
+    A-snorin' an' a-dreamin' of a table spread.
+
+    Three liddle Niggers a-lyin' in de bed;
+    Deir heels cracked open lak shorten' bread.
+
+    Four liddle Niggers a-lyin' in de bed;
+    Dey'd better hop out, if dey wants to git fed!
+
+
+MAMMA'S DARLING
+
+    Wid flowers on my shoulders,
+    An' wid slippers on my feet;
+    I'se my mammy's darlin'.
+    Don't you think I'se sweet?
+
+    I wish I had a fourpence,
+    Den I mought use a dime.
+    I wish I had a Sweetheart,
+    To kiss me all de time.
+
+    I has apples on de table,
+    An' I has peaches on de shelf;
+    But I wish I had a husband--
+    I'se so tired stayin' to myself.
+
+
+STEALING A RIDE
+
+    Two liddle Nigger boys as black as tar,
+    Tryin' to go to Heaben on a railroad chyar.
+    Off fall Nigger boys on a cross-tie!
+    Dey's gwineter git to Heaben shore bye-an'-bye.
+
+
+WASHING MAMMA'S DISHES
+
+    When I wus a liddle boy
+    A-washin' my mammy's dishes,
+    I rund my finger down my th'oat
+    An' pulled out two big fishes!
+
+    When I wus a liddle boy
+    A-wipin' my mammy's dishes,
+    I sticked my finger in my eye
+    An' I shō' seed liddle fishes.
+
+    De big fish swallowed dem all up!
+    It put me jes a-thinkin'.
+    All dem things looks awful cu'ous!
+    I wonder wus I drinkin'?
+
+
+WILLIE WEE
+
+    Willie, Willie, Willie Wee!
+    One, two, three.
+    If you wanna kiss a pretty gal,
+    Come kiss me.
+
+
+ONE NEGRO THEME SUNG WITH "FROG WENT A-COURTING"
+
+[music]
+
+
+FROG WENT A-COURTING
+
+    De frog went a-co'tin', he did ride. Uh-huh! Uh-huh!
+    De frog went a-co'tin', he did ride
+    Wid a sword an' a pistol by 'is side. Uh-huh! Uh-huh!
+
+    He rid up to Miss Mousie's dō'. Uh-huh! Uh-huh!
+    He rid up to Miss Mousie's dō',
+    Whar he'd of'en been befō. Uh-huh! Uh-huh!
+
+    Says he: "Miss Mousie, is you in?" Uh-huh! Uh-huh!
+    Says he: "Miss Mousie, is you in?"
+    "Oh yes, Sugar Lump! I kyard an' spin." Uh-huh! Uh-huh!
+
+    He tuck dat Mousie on his knee. Uh-huh! Uh-huh!
+    He tuck dat Mousie on his knee,
+    An' he say: "Dear Honey, marry me!" Uh-huh! Uh-huh!
+
+    "Oh Suh!" she say, "I cain't do dat." Uh-huh! Uh-huh!
+    "Oh Suh!" she say, "I cain't do dat,
+    Widout de sayso o' uncle Rat." Uh-huh! Uh-huh!
+
+    Dat ole gray Rat, he soon come home. Uh-huh! Uh-huh!
+    Dat ole gray Rat, he soon come home,
+    Sayin': "Whose been here since I'se been gone?" Uh-huh! Uh-huh!
+
+    "A fine young gemmun fer to see." Uh-huh! Uh-huh!
+    "A fine young gemmun fer to see,
+    An' one dat axed fer to marry me." Uh-huh! Uh-huh!
+
+    Dat Rat jes laugh to split his side. Uh-huh! Uh-huh!
+    Dat Rat jes laugh to split his side.
+    "Jes think o' Mousie's bein' a bride!" Uh-huh! Uh-huh!
+
+    Nex' day, dat rat went down to town. Uh-huh! Uh-huh!
+    Nex' day dat rat went down to town,
+    To git up de Mousie's Weddin' gown. Uh-huh! Uh-huh!
+
+    "What's de bes' thing fer de Weddin' gown?" Uh-huh! Uh-huh!
+    "What's de bes' thing fer de Weddin' gown?"--
+    "Dat acorn hull, all gray an' brown!" Uh-huh! Uh-huh!
+
+    "Whar shall de Weddin' Infar' be?" Uh-huh! Uh-huh!
+    "Whar shall de Weddin' Infar' be?"--
+    "Down in de swamp in a holler tree." Uh-huh! Uh-huh!
+
+    "What shall de Weddin' Infar' be?" Uh-huh! Uh-huh!
+    "What shall de Weddin' Infar' be?"--
+    "Two brown beans an' a blackeyed pea." Uh-huh! Uh-huh!
+
+    Fust to come in wus de Bumblebee. Uh-huh! Uh-huh!
+    Fust to come in wus de Bumblebee.
+    Wid a fiddle an' bow across his knee. Uh-huh! Uh-huh!
+
+    De nex' dat come wus Khyernel Wren. Uh-huh! Uh-huh!
+    De nex' dat come wus Khyernel Wren,
+    An' he dance a reel wid de Turkey Hen. Uh-huh! Uh-huh!
+
+    De nex' dat come wus Mistah Snake. Uh-huh! Uh-huh!
+    De nex' dat come wus Mistah Snake,
+    He swallowed de whole weddin' cake! Uh-huh! Uh-huh!
+
+    De nex' come in wus Cap'n Flea. Uh-huh! Uh-huh!
+    De nex' come in wus Cap'n Flea,
+    An' he dance a jig fer de Bumblebee. Uh-huh! Uh-huh!
+
+    An' now come in ole Giner'l Louse. Uh-huh! Uh-huh!
+    An' now come in ole Giner'l Louse.
+    He dance a breakdown 'round de house. Uh-huh! Uh-huh!
+
+    De nex' to come wus Major Tick. Uh-huh! Uh-huh!
+    De nex' to come wus Major Tick,
+    An' he e't so much it make 'im sick. Uh-huh! Uh-huh!
+
+    Dey sent fer Mistah Doctah Fly. Uh-huh! Uh-huh!
+    Dey sent fer Mistah Doctah Fly.
+    Says he: "Major Tick, you's boun' to die." Uh-huh! Uh-huh!
+
+    Oh, den crep' in ole Mistah Cat. Uh-huh! Uh-huh!
+    Oh, den crep' in ole Mistah Cat,
+    An' chilluns, dey all hollered, "Scat!!" Uh-huh!!! Uh-huh!!!
+
+    It give dat frog a turble fright. Uh-huh! Uh-huh!
+    It give dat frog a turble fright,
+    An' he up an' say to dem, "Good-night!" Uh-huh! Uh-huh!
+
+    Dat frog, he swum de lake aroun'. Uh-huh! Uh-huh!
+    Dat frog, he swum de lake aroun',
+    An' a big black duck come gobble 'im down. Uh-huh! Uh-huh!
+
+    "What d'you say 'us Miss Mousie's lot?" Uh-huh! Uh-huh!
+    "What d'you say 'us Miss Mousie's lot?"--
+    "W'y--, she got swallered on de spot!" Uh-huh! Uh-huh!
+
+    Now, I don't know no mō' 'an dat. Uh-huh! Uh-huh!
+    Now, I don't know no mō' 'an dat.
+    If you gits mō' you can take my hat. Uh-huh! Uh-huh!
+
+    An' if you thinks dat hat won't do. Uh-huh! Uh-huh!
+    An' if you thinks dat hat won't do,
+    Den you mought take my head 'long, too. Uh-huh!!! Uh-huh!!!
+
+
+SHOO! SHOO!
+
+    Shoo! Shoo!
+    What'll I do?
+    Run three mile an' buckle my shoe?
+
+    No! No!
+    I'se gwineter go,
+    An' kill dat chicken on my flō'.
+
+    Oh! My!
+    Chicken pie!
+    Sen' fer de Doctah, I mought die.
+
+    Christmus here,
+    Once a year.
+    Pass dat cider an' 'simmon beer.
+
+
+FLAP-JACKS
+
+    I loves my wife, an' I loves my baby:
+    An' I loves dem flap-jacks a-floatin' in gravy.
+    You play dem chyards, an' make two passes:
+    While I eats dem flap-jacks a-floatin' in 'lasses.
+
+    Now: in come a Nigger an' in come a bear,
+    In come a Nigger dat hain't got no hair.
+    Good-by, Nigger, go right on back,
+    Fer I hain't gwineter give you no flap-jack.
+
+
+TEACHING TABLE MANNERS
+
+    Now whilst we's here 'round de table,
+    All you young ones git right still.
+    I wants to l'arn you some good manners,
+    So's you'll think o' Uncle Bill.
+
+    Cose we's gwineter 'scuse Merlindy,
+    Caze she's jes a baby yit.
+    But it's time you udder young ones
+    Wus a-l'arnin' a liddle bit.
+
+    I can 'member as a youngster,
+    Lak you youngsters is to-day;
+    How my mammy l'arnt me manners
+    In a 'culiar kind o' way.
+
+    One o' mammy's ole time 'quaintance.
+    (Ole Aunt Donie wus her name)
+    Come one night to see my mammy.
+    Mammy co'se 'pared fer de same.
+
+    Mammy got de sifter, Honey;
+    An' she tuck an' make up dough,
+    Which she tu'n into hot biscuits.
+    Den we all git smart, you know.
+
+    'Zerves an' biscuits on de table!
+    Honey, noways could I wait.
+    Ole Aunt Donie wus a good ole 'oman,
+    An' I jes had to pass my plate.
+
+    I soon swallered down dem biscuit,
+    E't 'em faster dan a shoat.
+    Dey wus a liddle tough an' knotty,
+    But I chawed 'em lak a goat.
+
+    "Pass de biscuits, please, Mam!
+    Please, Mam, fer I wants some mō'."
+    Lawd! You'd oughter seed my mammy
+    Frownin' up, jes "sorter so."
+
+    "Won't you pass de biscuit, please, Mam?"
+    I said wid a liddle fear.
+    Dere wus not but one mō' lef', Sir.
+    Mammy riz up out'n her chear.
+
+    W'en Aunt Donie lef' our house, Suh,
+    Mammy come lak bees an' ants,
+    Put my head down 'twixt her knees, Suh,
+    Almos' roll me out'n my pants.
+
+    She had a great big tough hick'ry,
+    An' it help till it convince.
+    Frum dat day clean down to dis one,
+    I'se had manners ev'r since.
+
+
+MISS BLODGER
+
+    De rats an' de mice, dey rund up stairs,
+    Fer to hear Miss Blodger say her prayers.
+    Now here I stan's 'fore Miss Blodger.
+    She 'spects to hit me, but I'se gwineter dodge her.
+
+
+THE LITTLE NEGRO FLY
+
+    Dere's a liddle Nigger fly
+    Got a pretty liddle eye;
+    But he don't know 'is A, B, C's.
+    He up an' crawl de book,
+    An' he eben 'pears to look;
+    But he don't know 'is A, B, C's.
+
+
+DESTINIES OF GOOD AND BAD CHILDREN
+
+    One, two, three, fō', five, six, seben;
+    All de good chilluns goes to Heaben.
+    All de bad chilluns goes below,
+    To [44]segashuate wid ole man [45]Joe.
+
+    One, two, three, fō', five, six, seben, eight;
+    All de good chilluns goes in de Pearly Gate.
+    But all de bad chilluns goes the Broad Road below,
+    To segashuate wid ole man Joe.
+
+[44] Segashuate means associate with.
+
+[45] Read first stanza of "Sheep Shell Corn," to know of ole man Joe.
+
+
+BLACK-EYED PEAS FOR LUCK
+
+    One time I went a-huntin',
+    I heared dat 'possum sneeze.
+    I hollered back to Susan Ann:
+    "Put on a pot o' peas."
+
+    Dat good ole 'lasses candy,
+    What makes de eyeballs shine,
+    Wid 'possum peas an' taters,
+    Is my dish all de time.
+
+    [46]Dem black-eyed peas is lucky;
+    When e't on New Year's day,
+    You always has sweet taters,
+    An' 'possum come your way.
+
+[46] This last stanza embodies one of the old superstitions.
+
+
+[47]PERIWINKLE
+
+    Pennywinkle, pennywinkle, poke out yō' ho'n;
+    An' I'll give you five dollahs an' a bar'l o' co'n.
+    Pennywinkle! Pennywinkle! Dat gal love me?
+    Jes stick out yō' ho'n all pinted to a tree.
+
+[47] The Periwinkle seems to have been used as an oracle by some Negroes
+in the days of their enslavement.
+
+
+TRAINING THE BOY
+
+    W'en I wus a liddle boy,
+    Jes thirteen inches high,
+    I useter climb de table legs,
+    An' steal off cake an' pie.
+
+    Altho' I wus a liddle boy,
+    An' tho' I wusn't high,
+    My mammy took dat keen switch down,
+    An' whupped me till I cry.
+
+    Now I is a great big boy,
+    An' Mammy, she cain't do it;
+    My daddy gits a great big stick,
+    An' pulls me right down to it.
+
+    Dey say: "No breakin' dishes now;
+    No stealin' an' no lies."
+    An' since I is a great big boy,
+    Dey 'spects me to act wise.
+
+
+[48]BAT! BAT!
+
+    Bat! Bat! Come un'er my hat,
+    An' I'll give you a slish o' bacon.
+    But don't bring none yō' ole bedbugs,
+    If you don't want to git fersaken.
+
+[48] A superstition that it is good luck to catch a bat in one's hat if
+he doesn't get bedbugs by so doing.
+
+
+RANDSOME TANTSOME
+
+    Randsome Tantsome!--Gwine to de Fair?
+    Randsome Tantsome!--W'at you gwineter wear?
+    "Dem shoes an' stockin's I'se bound to wear!"
+    Randsome Tantsome a-gwine to de Fair.
+
+
+ARE YOU CAREFUL?
+
+    Is you keerful; w'en you goes down de street,
+    To see dat yō' cloze looks nice an' neat?
+    Does you watch yō' liddle step 'long de way,
+    An' think 'bout dem words dat you say?
+
+
+RABBIT HASH
+
+    Dere wus a big ole rabbit
+    Dat had a mighty habit
+    A-settin' in my gyardin,
+    An' eatin' all my cabbitch.
+    I hit 'im wid a mallet,
+    I tapped 'im wid a maul.
+    Sich anudder rabbit hash,
+    You's never tasted 'tall.
+
+
+WHY THE WOODPECKER'S HEAD IS RED
+
+    Bill Dillix say to dat woodpecker bird:
+    "W'at makes yō' topknot red?"
+    Says he: "I'se picked in de red-hot sun,
+    Till it's done burnt my head."
+
+
+BLESSINGS
+
+The chivalry of the Old South rather demanded that all friends should be
+invited to partake of the meal, if they chanced to come calling about
+the time of the meal hour. This ideal also pervaded the lowly slave
+Negro's cabin. In order that this hospitality might not be abused, the
+Negroes had a little deterrent story which they told their children.
+Below are the fancied Blessings asked by the fictitious Negro family, in
+the story, whose hospitality had been abused.
+
+
+BLESSING WITH COMPANY PRESENT
+
+    Oh Lawd now bless an' bīn' us,
+    An' put ole Satan 'hīn' us.
+    Oh let yō' Sperit mīn' us.
+    Don't let none hongry fīn' us.
+
+
+BLESSING WITHOUT COMPANY
+
+    Oh Lawd have mussy now upon us,
+    An' keep 'way some our neighbors from us.
+    For w'en dey all comes down upon us,
+    Dey eats mōs' all our victuals from us.
+
+
+ANIMAL PERSECUTORS
+
+    I went up on de mountain,
+    To git a bag o' co'n.
+    Dat coon, he sicked 'is dog on me,
+    Dat 'possum blowed 'is ho'n.
+
+    Dat gobbler up an' laugh at me.
+    Dat pattridge giggled out.
+    Dat peacock squall to bust 'is sides,
+    To see me runnin' 'bout.
+
+
+FOUR RUNAWAY NEGROES--WHENCE THEY CAME
+
+    Once fō' runaway Niggers,
+    Dey met in de road.
+    An' dey ax one nudder:
+    Whar dey come from.
+    Den one up an' say:
+      "I'se jes come down from Chapel Hill
+      Whar de Niggers hain't wuked an' never will."
+
+    Den anudder up an' say:
+      "I'se jes come here from Guinea Gall
+      Whar dey eats de cow up, skin an' all."
+
+    Den de nex' Nigger say
+    Whar he done come from:
+      "Dey wuked you night an' day as dey could;
+      Dey never had stopped an' dey never would."
+
+    De las' Nigger say
+    Whar he come from:
+      "De Niggers all went out to de Ball;
+      De thick, de thin, de short, de tall."
+
+    But dey'd all please set up,
+    Jes lak ole Br'er Rabbit
+    W'en he look fer a dog.
+    An' keep it in mind,
+    Whilst dey boasts 'bout deir gals
+    An' dem t'other things:
+      "Dat none deir gals wus lak Sallie Jane,
+      Fer dat gal wus sweeter dan sugar cane."
+
+
+
+
+WISE SAYING SECTION
+
+
+LEARN TO COUNT
+
+    Naught's a naught,
+    Five's a figger.
+    All fer de white man,
+    None fer de Nigger.
+
+    Ten's a ten,
+    But it's mighty funny;
+    When you cain't count good,
+    You hain't got no money.
+
+
+THE WAR IS ON
+
+    De boll-weevil's in de cotton,
+    De cut-worm's in de corn,
+    De Devil's in de white man;
+    An' de wah's a-gwine on.
+    Poor Nigger hain't got no home!
+    Poor Nigger hain't got no home!
+
+
+HOW TO PLANT AND CULTIVATE SEEDS
+
+    Plant: One fer de blackbird
+      Two fer de crow,
+      Three fer de jaybird
+      An' fō' fer to grow.
+
+    Den: When you goes to wuk,
+      Don't never stand still;
+      When you pull de grass,
+      Pull it out'n de hill.
+
+
+A MAN OF WORDS
+
+    A man o' words an' not o' deeds,
+    Is lak a gyarden full o' weeds.
+      De weeds 'gin to grow
+      Lak a gyarden full o' snow.
+      De snow 'gin to fly
+      Lak a eagle in de sky.
+      De sky 'gin to roar
+      Lak a hammer on yō' door.
+      De door 'gin to crack
+      Lak a hick'ry on yō' back.
+      Yō' back 'gin to smart
+      Lak a knife in yō' heart.
+      Yō' heart 'gin to fail
+      Lak a boat widout a sail.
+      De boat 'gin to sink
+      Lak a bottle full o' ink.
+      Dat ink, it won't write
+      Neider black nor white.
+    Dat man o' words an' not o' deeds,
+    Is lak a gyarden full o' weeds.
+
+
+INDEPENDENT
+
+    I'se jes as innerpenunt as a pig on ice.
+    Gwineter git up ag'in if I slips down twice.
+    If I cain't git up, I can jes lie down.
+    I don't want no Niggers to be he'pin' me 'roun'.
+
+
+TEMPERANCE RHYME
+
+    Whisky nor brandy hain't no friend to my kind.
+    Dey killed my pō' daddy, an' dey troubled my mind.
+    Sometime he drunk whisky, sometime he drunk ale;
+    Sometime he kotch de rawhide, an' sometime de flail.
+
+    On yon'er high mountain, I'll set up dar high;
+    An' de wild geese can cheer me while passin' on by.
+    Go 'way, young ladies, an' let me alone;
+    For you know I'se a poor boy, an' a long ways from home.
+
+    Go put up de hosses an' give 'em some hay;
+    But don't give me no whisky, so long as I stay.
+    For whisky nor brandy hain't friend to my kind;
+    Dey killed my pō' daddy, an' dey troubled my mind.
+
+
+THAT HYPOCRITE
+
+    I tell you how dat hypocrite do,
+    He come down to my house, an' talk about you;
+    He talk about me, an' he talk about you;
+    An' dat's de way dat hypocrite do.
+
+    I tell you how dat hypocrite pray.
+    He pray out loud in de hypocrite way.
+    He pray out loud, got a heap to say;
+    An' dat's de way dat hypocrite pray.
+
+    I tell you how dat hypocrite 'ten',
+    He 'ten' dat he love, an' he don't love men.
+    He 'ten' dat he love, an' he hate Br'er Ben;
+    An' dat's de way dat hypocrite 'ten'.
+
+
+DRINKING RAZOR SOUP
+
+    He's been drinkin' razzer soup;
+    Dat sharp Nigger, black lak ink.
+    If he don't watch dat tongue o' his,
+    Somebody'll hurt 'im 'fōr' he think.
+
+    He cain't drive de pigeons t' roost,
+    Dough he talk so big an' smart.
+    Hain't got de sense to tole 'em in.
+    Cain't more 'an drive dat ole mule chyart.
+
+
+OLD MAN KNOW-ALL
+
+    Ole man Know-All, he come 'round
+    Wid his nose in de air, turned 'way frum de ground.
+    His ole woolly head hain't been combed fer a week;
+    It say: "Keep still, while Know-All speak."
+
+    Ole man Know-All's tongue, it run;
+    He jes know'd ev'rything under de sun.
+    When you knowed one thing, he knowed mō'.
+    He 'us sharp 'nough to stick an' green 'nough to grow.
+
+    Ole man Know-All died las' week.
+    He got drowned in de middle o' de creek.
+    De bridge wus dar, an' dar to stay.
+    But he knowed too much to go dat way.
+
+
+FED FROM THE TREE OF KNOWLEDGE
+
+    I nebber starts to break my colt,
+    Till he's ole enough to trabble.
+    I nebber digs my taters up
+    Wen dey's only right to grabble.
+    So w'en you sees me risin' up
+    To structify in meetin',
+    You can know I'se climbed de Knowledge Tree
+    An' done some apple eatin'.
+
+
+THE TONGUE
+
+    Got a tongue dat jes run when it walk?
+    It cain't talk.
+    Got a tongue dat can hush when it talk?--
+    It cain't squawk.
+
+
+BRAG AND BOAST
+
+    Brag is a big dog;
+    But Hold Fast, he is better.
+    Dem big black rough hands,
+    Dey cain't write no letter.
+
+    Boast, he barks an' growls loud;
+    But Bulger, he hain't no shirker.
+    Dat big loud mouf Nigger,
+    He hain't never no worker.
+
+
+SELF-CONTROL
+
+    Befo' you says dat ugly word,
+    You stop an' count ten.
+    Den if you wants to say dat word,
+    Begin an' count again.
+
+    Don't have a tongue tied in de middle,
+    An' loose frum en' to en'.
+    You mus' think twice, den speak once;
+    Dat [49]donkey cain't count ten.
+
+[49] The somewhat less dignified term was more commonly used.
+
+
+SPEAK SOFTLY
+
+    "Wus dat you spoke,
+    Or a fence rail broke?"
+    Br'er Rabbit say to de Jay
+    [50]W'en you don't speak sof',
+    Yō' baits comes off;
+    An' de fish jes swim away.
+
+[50] The last three lines of the rhyme was a superstition current among
+antebellum Negroes.
+
+
+STILL WATER RUNS DEEP
+
+    Dat still water, it run deep.
+    Dat shaller water prattle.
+    Dat tongue, hung in a holler head,
+    Jes roll 'round an' rattle.
+
+
+DON'T TELL ALL YOU KNOW
+
+    Keep dis in min', an' all 'll go right;
+    As on yō' way you goes;
+    Be shore you knows 'bout all you tells,
+    But don't tell all you knows.
+
+
+[51]JACK AND DINAH WANT FREEDOM
+
+    Ole Aunt Dinah, she's jes lak me.
+    She wuk so hard dat she want to be free.
+    But, you know, Aunt Dinah's gittin' sorter ole;
+    An' she's feared to go to Canada, caze it's so cōl'.
+
+    Dar wus ole Uncle Jack, he want to git free.
+    He find de way Norf by de moss on de tree.
+    He cross dat [52]river a-floatin' in a tub.
+    Dem [53]Patterollers give 'im a mighty close rub.
+
+    Dar is ole Uncle Billy, he's a mighty good Nigger.
+    He tote all de news to Mosser a little bigger.
+    When you tells Uncle Billy, you wants free fer a fac';
+    De nex' day de hide drap off'n yō' back.
+
+[51] The writer wishes to give explanation as to why the rhyme "Jack and
+Dinah Want Freedom" appears under the Section of Psycho-composite Rhymes
+as set forth in "The Study----" of our volume. The Negroes repeating
+this rhyme did not always give the names Jack, Dinah, and Billy, as we
+here record them, but at their pleasure put in the individual name of
+the Negro in their surroundings whom the stanza being repeated might
+represent. Thus this little rhyme was the scientific dividing, on the
+part of the Negroes themselves, of the members of their race into three
+general classes with respect to the matter of Freedom.
+
+[52] The Ohio River.
+
+[53] White guards who caught and kept slaves at the master's home.
+
+
+
+
+FOREIGN SECTION
+
+
+AFRICAN RHYMES
+
+The rhymes "Tuba Blay," "Near Waldo Tee-do O mah nah mejai," "Sai
+Boddeoh Sumpun Komo," and "Byanswahn-Byanswahn" were kindly contributed
+by Mr. John H. Zeigler, Monrovia, Liberia, and Mr. C. T. Wardoh of the
+Bassa Tribe, Liberia. They are natives and are now in America for
+collegiate study and training.
+
+
+NEAR-WALDO-TEE-DO O MAH NAH MEJAI
+
+OR
+
+NEAR-WALDO-TEE-DO IS MY SWEETHEART
+
+    1.  A yehn me doddoc Near Waldo Tee-do.
+        Yehn me doddoc o-o seoh-o-o.
+        Omah nahn mejai Near Waldo Tee-do.
+        Omah nahn mejai Near Waldo Tee-do.
+
+    _Translation_
+
+        Near Waldo Tee-do gave me a suit.
+        He gave me a suit.
+        Near Waldo Tee-do is my sweetheart.
+        Near Waldo Tee-do is my sweetheart.
+
+
+TUBA BLAY
+
+OR
+
+AN EVENING SONG
+
+    1.  Seah O, Tuba blay.
+        Tuba blay, Tuba blay.
+
+    2.  O blay wulna nahn blay.
+        Tuba blay, Tuba blay.
+
+    _Translation_
+
+    1.  Oh please Tuba sing.
+        Tuba sing, Tuba sing.
+
+    2.  Oh sing that song.
+        Tuba sing, Tuba sing.
+
+
+THE OWL
+
+We are indebted for this Baluba rhyme to Dr. and Mrs. William H.
+Sheppard, pioneer missionaries under the Southern Presbyterian Church.
+The little production comes from Congo, Africa.
+
+    Sala wa mĕn tĕnge, Cimpungelu.
+    Sala wa mĕn tĕnge, Cimpungelu.
+    Meme taya wewe, Cimpungelu.
+    Sala wa mĕn tĕnge, Cimpungelu.
+
+    _Translation_
+
+    The dancing owl waves his spread tail feathers.
+          I'm the owl.
+    The dancing owl waves his spread tail feathers.
+          I'm the owl.
+    I now tell you by my dancing, I'm the owl.
+    The dancing owl waves his spread tail feathers.
+          I'm the owl.
+
+
+SAI BODDEOH SUMPUN KOMO
+
+OR
+
+I AM NOT GOING TO MARRY SUMPUN
+
+    1.  Sai Sumpun komo.
+        De Sumpun nenah?
+        Sumpun se jello jeppo
+        Boddeoh Sumpun.
+
+    2.  Sai Sumpun komo.
+        De Sumpun nenah?
+        Sumpun auch nahn jehn deddoc.
+        Boddeoh Sumpun.
+
+    _Translation_
+
+    1.  I am not going to marry Sumpun.
+        What has Sumpun done?
+        Sumpun doesn't live a seafaring life
+        Boddeoh Sumpun.
+
+    2.  I am not going to marry Sumpun.
+        What has Sumpun done?
+        Sumpun does not support me.
+        Boddeoh Sumpun.
+
+
+BYANSWAHN-BYANSWAHN
+
+OR
+
+A BOAT SONG
+
+    Ō-Ō Byanswahn blay Tanner tee-o-o.
+    O Byanswahn jekah jubha.
+    De jo Byanswahn se kah jujah dai.
+    Ō Byanswahn blay dai Tanner tee-o-o.
+
+    _Translation_
+
+    Oh boat, come back to me.
+    Since you carried my child away,
+    I have not seen that child.
+    Oh boat come back to me.
+
+
+THE TURKEY BUZZARD
+
+Dr. C. C. Fuller: a missionary at Chikore Melsetter, Rhodesia, Africa,
+was good enough to secure for the compiler this rhyme, written in
+Chindau, from the Rev. John E. Hatch, also a missionary in South Africa.
+
+    Riti, riti, mwana wa rashika.
+    Ndizo, ndizo kurgya ku wande.
+    Riti, riti, mwana wa oneka.
+    Ndizo, ndizo ti wande issu.
+
+    _Translation_
+
+    Turkey buzzard, turkey buzzard, your child is lost.
+    That is all right, the food will be more plentiful.
+    Turkey buzzard, turkey buzzard, your child is found.
+    That is all right, we will increase in number.
+
+
+THE FROGS
+
+The following child's play rhyme in Baluba with its translation was
+contributed by Mrs. L. G. Sheppard, who was for many years a missionary
+in Congo, Africa.
+
+    Cula, Cula, Kuya kudi Kunyi?
+    Tuyiya ku cisila wa Baluba.
+    Tun kuata tua kuesa cinyi?
+    Tua kudimuka kua musode.
+
+    _Translation_
+
+    Frogs, frogs, where are you going?
+    We are going to the market of the Baluba.
+    If they catch you, what will they do?
+    They will turn us all into lizards.
+
+
+JAMAICA RHYME
+
+
+BUSCHER GARDEN
+
+This Negro rhyme from rural Jamaica was contributed by Dr. Cecil B.
+Roddock, a native of that country. The word _Buscher_ means an overseer
+or master of a plantation.
+
+    All a night, me da watch a brother Wayrum;
+    Wayrum ina me Buscher garden.
+    Oh, Brother Wayrum! Wha' a you da do,
+    To make a me Buscher a catch a you?
+    Oh a me Buscher, in a me Buscher garden;
+    Me a beg a me Buscher a pardon!
+
+
+VENEZUELAN NEGRO RHYMES
+
+These Venezuelan rhymes: "A 'Would be' Immigrant" and "Game Contestant's
+Song," came to us through the kindness of Mr. J. C. Williams, Caracas,
+Venezuela, S. A. He is a native of Venezuela.
+
+
+GAME CONTESTANT'S SONG
+
+    We're going to dig!
+    We're going to dig a sepulcher to bury those regiments.
+    White Rose Union!
+    Get yourself in readiness to bury those regiments.
+    Oh Grentville! [54]Cici! Cici!
+    Beat them forever.
+
+    Sa your de vrai!
+    We'll send them a challenge,
+    To mardi carnival.
+    Sa your de vrai!!
+
+[54] Cici = a kind of game.
+
+
+A "WOULD BE" IMMIGRANT
+
+    Conjo Celestine! Oh
+    He was going to Panama.
+    Reavay Trinidad!
+    Celestine Revay, la Grenada!
+    What d'you think bring Celestine back?
+    What d'you think bring Celestine back?
+    What d'you think bring Celestine to me?
+    Twenty cents for a cup of tea.
+
+
+TRINIDAD NEGRO RHYMES
+
+We are very grateful to Mr. L. A. Brown for his kindness in giving to us
+the two Venezuelan rhymes which follow. His home is in Princess Town,
+Trinidad, B. W. I.
+
+
+UN BELLE MARIE COOLIE
+
+OR
+
+BEAUTIFUL MARIE, THE EAST INDIAN
+
+    Un belle Marie Coolie!
+    Un belle Marie Coolie!
+    Un belle Marie Coolie!
+    Vous belle dame, vous belle pour moi.
+    Papa est un African.
+    Mamma est un belle Coolie.
+    Un belle Marie Coolie!
+    Vous belle dame, vous belle pour moi.
+
+    _Translation_
+
+    Beautiful Marie, the East Indian!
+    Beautiful Marie, the East Indian!
+    Beautiful Marie, the East Indian!
+    You beautiful woman, you're good enough for me.
+    Papa is an African.
+    Mamma is a beautiful East Indian.
+    Beautiful Marie, the East Indian!
+    You beautiful woman, you're good enough for me.
+
+
+A TOM CAT
+
+    My father had a big Tom cat,
+    That tried to play a fiddle.
+    He struck it here, and he struck it there,
+    And he struck it in the middle.
+
+
+PHILIPPINE ISLAND RHYME
+
+The following rhyme came to me through the kindness of Mr. C. W. Ransom,
+Grand Chain, Ill., U.S.A. Mr. Ransom served three years with the United
+States Army in the Philippine Islands.
+
+    See that Monkey up the cocoanut tree,
+    A-jumpin' an' a-throwin' nuts at me?
+    El hombre no savoy,
+    No like such play.
+    All same to Americano,
+    No hay diqué.
+
+
+
+
+Part II
+
+A STUDY IN NEGRO FOLK RHYMES
+
+
+The lore of the American Negro is rich in story, in song, and in Folk
+rhymes. These stories and songs have been partially recorded, but so far
+as I know there is no collection of the American Negro Folk Rhymes. The
+collection in Part I is a compilation of American Negro Folk Rhymes, and
+this study primarily concerns them; but it was necessary to have a
+Foreign Section of Rhymes in order to make our study complete. I have
+therefore inserted a little Foreign Section of African, Venezuelan,
+Jamaican, Trinidad, and Philippine Negro Rhymes; and along with them
+have placed the names of the contributors to whom we are under great
+obligations, as well as to the many others who have given valuable
+assistance and suggestions in the matter of the American Negro Rhymes
+recorded.
+
+When critically measured by the laws and usages governing the best
+English poetry, Negro Folk Rhymes will probably remind readers of the
+story of the good brother, who arose solemnly in a Christian praise
+meeting, and thanked God that he had broken all the Commandments, but
+had kept his religion.
+
+Though decent rhyme is often wanting, and in the case of the "Song to
+the Runaway Slave," there is no rhyme at all, the rhythm is found almost
+perfect in all of them.
+
+A few of the Rhymes bear the mark of a somewhat recent date in
+composition. The majority of them, however, were sung by Negro fathers
+and mothers in the dark days of American slavery to their children who
+listened with eyes as large as saucers and drank them down with mouths
+wide open. The little songs were similar in structure to the Jubilee
+Songs, also of Negro Folk origin.
+
+If one will but examine the recorded Jubilee songs, he will find that it
+is common for stanzas, which are apparently most distantly related in
+structure, to sing along in perfect rhythm in the same tune that
+carefully counts from measure to measure one, two; or one, two, three,
+four. Here is an example of two stanzas taken from the Jubilee song,
+"Wasn't That a Wide River?"
+
+    1. "Old Satan's just like a snake in the grass,
+        He's a-watching for to bite you as you pass.
+
+    2.  Shout! Shout! Satan's about.
+        Just shut your door, and keep him out."
+
+An examination of stanzas in various Jubilee songs will show in the same
+song large variations in poetic feet, etc., not only from stanza to
+stanza; but very often from line to line, and even from phrase to
+phrase. Notwithstanding all this variation, a well trained band of
+singers will render the songs with such perfect rhythm that one scarcely
+realizes that the structure of any one stanza differs materially from
+that of another.
+
+A stanza, as it appears in Negro Folk Rhymes, is of the same
+construction as that found in the Jubilee Songs. A perfect rhythm is
+there. If while reading them you miss it, read yet once again; you will
+find it in due season if you "faint not" too early.
+
+As a rule, Negro Folk verse is so written that it fits into measures of
+music written 4/4 or 2/4 time. You can therefore read Negro Folk Rhymes
+silently counting: one, two; or, one, two, three, four; and the stanzas
+fit directly into the imaginary music measures if you are reading in
+harmony with the intended rhythm. I know of only three Jubilee Songs
+whose stanzas are transcribed as exceptions. They are--
+
+(1) "I'm Going to Live with Jesus," 6/8 time, (2) "Gabriel's Trumpet's
+Going to Blow," 3/4 time, and (3) "Lord Make Me More Patient," 6/8
+time. It is interesting to note along with these that the "Song of the
+Great Owl," the "Negro Soldier's Civil War Chant," and "Destitute Former
+Slave Owners," are seemingly the only ones in our Folk Rhyme collection
+which would call for a 3/4 or 6/8 measure. Such a measure is rare in all
+literary Negro Folk productions.
+
+The Negro, then, repeated or sang his Folk Rhymes, and danced them to
+4/4 and 2/4 measures. Thus Negro Folk Rhymes, with very few exceptions,
+are poetry where a music measure is the unit of measurement for the
+words rather than the poetic foot. This is true whether the Rhyme is, or
+is not, sung. _Imaginary measures either of two or four beats, with a
+given number of words to a beat, a number that can be varied limitedly
+at will, seems to be the philosophy underlying all Negro slave rhyme
+construction._
+
+As has just been casually mentioned, the Negro Folk Rhyme was used for
+the dance. There are Negro Folk Rhyme Dance Songs and Negro Folk Dance
+Rhymes. An example of the former is found in "The Banjo Picking," and of
+the latter, "Juba," both found in this collection. The reader may wonder
+how a Rhyme simply repeated was used in the dance. The procedure was as
+follows: Usually one or two individuals "star" danced at time. The
+others of the crowd (which was usually large) formed a circle about this
+one or two who were to take their prominent turn at dancing. I use the
+terms "star" danced and "prominent turn" because in the latter part of
+our study we shall find that all those present engaged sometimes at
+intervals in the dance. But those forming the circle, for most of the
+time, repeated the Rhyme, clapping their hands together, and patting
+their feet in rhythmic time with the words of the Rhyme being repeated.
+It was the task of the dancers in the middle of the circle to execute
+some graceful dance in such a manner that their feet would beat a tattoo
+upon the ground answering to every word, and sometimes to every syllable
+of the Rhyme being repeated by those in the circle. There were many such
+Rhymes. "'Possum Up the Gum Stump," and "Jawbone" are good examples. The
+stanzas to these Rhymes were not usually limited to two or three, as is
+generally the case with those recorded in our collection. Each selection
+usually had many stanzas. Thus as there came variation in the words from
+stanza to stanza, the skill of the dancers was taxed to its utmost, in
+order to keep up the graceful dance and to beat a changed tattoo upon
+the ground corresponding to the changed words. If any find fault with
+the limited number of stanzas recorded in our treatise, I can in apology
+only sing the words of a certain little encore song each of whose two
+little stanzas ends with the words, "Please don't call us back, because
+we don't know any more."
+
+There is a variety of Dance Rhyme to which it is fitting to call
+attention. This variety is illustrated in our collection by "Jump Jim
+Crow," and "Juba." In such dances as these, the dancers were required to
+give such movements of body as would act the sentiment expressed by the
+words while keeping up the common requirements of beating these same
+words in a tattoo upon the ground with the feet and executing
+simultaneously a graceful dance.
+
+It is of interest also to note that the antebellum Negro while repeating
+his Rhymes which had no connection with the dance usually accompanied
+the repeating with the patting of his foot upon the ground. Among other
+things he was counting off the invisible measures and bars of his
+Rhymes, things largely unseen by the world but very real to him. Every
+one who has listened to a well sung Negro Jubilee Song knows that it is
+almost impossible to hear one sung and not pat the foot. I have seen the
+feet of the coldest blooded Caucasians pat right along while Jubilee
+melodies were being sung.
+
+All Negro Folk productions, including the Negro Folk Rhymes, seem to
+call for this patting of the foot. The explanation which follows is
+offered for consideration. The orchestras of the Native African were
+made up largely of crudely constructed drums of one sort or another.
+Their war songs and so forth were sung to the accompaniment of these
+drum orchestras. When the Negroes were transported to America, and began
+to sing songs and to chant words in another tongue, they still sang
+strains calling, through inheritance, for the accompaniment of their
+ancestral drum. The Negro's drum having fallen from him as he entered
+civilization, he unwittingly called into service his foot to take its
+place. This substitution finds a parallelism in the highly cultivated La
+France rose, which being without stamens and pistils must be propagated
+by cuttings or graftings instead of by seeds. The rose, purposeless,
+emits its sweet perfume to the breezes and thus it attracts insects for
+cross fertilization simply because its staminate and pistillate
+ancestors thus called the insect world for that purpose. The rattle of
+the crude drum of the Native African was loud by inheritance in the
+hearts of his early American descendants and its unseen ghost walks in
+the midst of all their poetry.
+
+Many Negro Folk Rhymes were used as banjo and fiddle (violin) songs. It
+ought to be borne in mind, however, that even these were quite often
+repeated without singing or playing. It was common in the early days of
+the public schools of the South to hear Negro children use them as
+declamations. The connection, however, of Negro Folk Rhymes with their
+secular music productions is well worthy of notice.
+
+I have often heard those who liked to think and discuss things musical,
+wonder why little or no music of a secular kind worth while seemed to be
+found among Negroes while their religious music, the Jubilee Songs, have
+challenged the admiration of the world. The songs of most native peoples
+seem to strike "high water mark" in the secular form. Probably numbers
+of us have heard the explanation: "You see, the Negro is deeply
+emotional; religion appealed to him as did nothing else. The Negro
+therefore spent his time singing and shouting praises to God, who alone
+could whisper in his heart and stir up these emotions." There is perhaps
+much truth in this explanation. It is also such a delicate and high
+compliment to the Negro race, that I hesitate to touch it. One of the
+very few gratifying things that has come to Negroes is the unreserved
+recognition of their highly religious character. There is a truth,
+however, about the relation between the Negro Folk Rhyme and the Negro's
+banjo and fiddle music which ought to be told even though some older,
+nicer viewpoints might be a little shifted.
+
+There were quite a few Rhymes sung where the banjo and fiddle formed
+what is termed in music a simple accompaniment. Examples of these are
+found in "Run, Nigger, Run," and "I'll Wear Me a Cotton Dress." In such
+cases the music consisted of simple short tunes unquestionably "born to
+die."
+
+There was another class of Rhymes like "Devilish Pigs," that were used
+with the banjo and fiddle in quite another way. It was the banjo and
+fiddle productions of this kind of Rhyme that made the "old time" Negro
+banjo picker and fiddler famous. It has caused quite a few, who heard
+them, to declare that, saint or sinner, it was impossible to keep your
+feet still while they played. The compositions were comparatively long.
+From one to four lines of a Negro Folk Rhyme were sung to the opening
+measures of the instrumental composition; then followed the larger and
+remaining part of the composition, instruments alone. In the Rhyme
+"Devilish Pigs" four lines were used at a time. Each time that the music
+theme of the composition was repeated, another set of Rhyme lines was
+repeated; and the variations in the music theme were played in each
+repeat which recalled the newly repeated words of the Rhyme. The ideal
+in composition from an instrumental viewpoint might quite well remind
+one of the ideal in piano compositions, which consists of a theme with
+variations. The first movement of Beethoven's Sonata, Opus 26,
+illustrates the music ideal in composition to which I refer.
+
+So far as I know no Caucasian instrumental music composer has ever
+ordered the performers under his direction to sing a few of the first
+measures of his composition while the string division of the orchestra
+played its opening chords. Only the ignorant Negro composer has done
+this. Some white composers have made little approaches to it. A fair
+sample of an approach is found in the Idylls of Edward McDowell, for
+piano, where every exquisite little tone picture is headed by some gem
+in verse, reading which the less musically gifted may gain a deeper
+insight into the philosophical tone discourse set forth in the notes and
+chords of the composition.
+
+The Negro Folk Rhyme, then, furnished the ideas about which the "old
+time" Negro banjo picker and fiddler clustered his best instrumental
+music thoughts. It is too bad that this music passed away unrecorded
+save by the hearts of men. Paul Laurence Dunbar depicts its telling
+effects upon the hearer in his poem "The Party":
+
+    "Cripple Joe, de ole rheumatic, danced dat flo' frum side to middle.
+    Throwed away his crutch an' hopped it, what's rheumatics 'gainst a
+                                                               fiddle?
+    Eldah Thompson got so tickled dat he lak to los' his grace,
+    Had to take bofe feet an' hold 'em, so's to keep 'em in deir place.
+    An' de Christuns an' de sinnahs got so mixed up on dat flo',
+    Dat I don't see how dey's pahted ef de trump had chonced to blow."
+
+Perhaps a new school of orchestral music might be built on the Negro
+idea that some of the performers sing a sentence or so here and there,
+both to assist the hearers to a clearer musical understanding and to
+heighten the general artistic finish. The old Negro performers generally
+sang lines of the Folk Rhymes at the opening but occasionally in the
+midst of their instrumental compositions. I do not recall any case where
+lines were sung to the closing measures of the compositions.
+
+It might seem odd to some that the grotesque Folk Rhyme should have
+given rise to comparatively long instrumental music compositions. I
+think the explanation is probably very simple. The African on his native
+heath had his crude ancestral drum as his leading musical instrument. He
+sang or shouted his war songs consisting of a few words, and of a few
+notes, then followed them up with the beating of his drum, perhaps for
+many minutes, or even for hours. In civilization, the banjo, fiddle,
+"quills," and "triangle" largely took the place of his drum. Thus the
+singing of opening strains and following them with the main body of the
+instrumental composition, is in keeping with the Negro's inherited law
+for instrumental compositions from his days of savagery. The rattling,
+distinct tones of the banjo, recalling unconsciously his inherited love
+for the rattle of the African ancestral drum, is probably the thing
+which caused that instrument to become a favorite among Negro slaves.
+
+I would next consider the relation of the Folk Rhymes to Negro child
+life. They were instilled into children as warnings. In the years
+closely following our Civil War, it was common for a young Negro child,
+about to engage in a doubtful venture, to hear his mother call out to
+him the Negro Rhyme recorded by Joel Chandler Harris, in the Negro
+story, "The End of Mr. Bear":
+
+    "Tree stan' high, but honey mighty sweet--
+    Watch dem bees wid stingers on der feet."
+
+These lines commonly served to recall the whole story, it being the
+Rabbit's song in that story, and the child stopped whatever he was
+doing. Other and better examples of such Rhymes are "Young Master and
+Old Master," "The Alabama Way," and "You Had Better Mind Master," found
+in our collection.
+
+The warnings were commonly such as would help the slave to escape more
+successfully the lash, and to live more comfortably under slave
+conditions. I would not for once intimate that I entertain the thought
+that the ignorant slave carefully and philosophically studied his
+surroundings, reasoned it to be a fine method to warn children through
+poetry, composed verse, and like a wise man proceeded to use it. Of
+course thinking preceded the making of the Rhyme, but a conscious system
+of making verses for the purpose did not exist. I have often watched
+with interest a chicken hen lead forth her brood of young for the first
+time. While the scratching and feeding are going on, all of a sudden the
+hen utters a loud shriek, and flaps her wings. The little chicks,
+although they have never seen a hawk, scurry hither and thither, and so
+prostrate their little brown and ashen bodies upon the ground as almost
+to conceal themselves. The Negro Folk Rhymes of warning must be looked
+upon a little in this same light. They are but the strains of terror
+given by the promptings of a mother instinct full enough of love to give
+up life itself for its defenseless own.
+
+Many Rhymes were used to convey to children the common sense truths of
+life, hidden beneath their comic, crudely cut coats. Good examples are
+"Old Man Know-All," "Learn to Count," and "Shake the Persimmons Down."
+All through the Rhymes will be found here and there many stanzas full of
+common uncommon sense, worthwhile for children.
+
+Many Negro Folk Rhymes repeated or sung to children on their parents'
+knees were enlarged and told to them as stories, when they became older.
+The Rhyme in our collection on "Judge Buzzard" is one of this kind. In
+the Negro version of the race between the hare and the tortoise
+("rabbit and terrapin"), the tortoise wins not through the hare's going
+to sleep, but through a gross deception of all concerned, including even
+the buzzard who acted as Judge. The Rhyme is a laugh on "Jedge Buzzard."
+It was commonly repeated to Negro children in olden days when they
+passed erroneous judgments. "Buckeyed rabbit! Whoopee!" in our volume
+belongs with the Negro story recorded by Joel Chandler Harris under the
+title, "How Mr. Rabbit Lost His Fine Bushy Tail," though for some reason
+Mr. Harris failed to weave it into the story as was the Negro custom.
+"The Turtle's Song," in our collection, is another, which belongs with
+the story, "Mr. Terrapin Shows His Strength"; a Negro story given to the
+world by the same author, though the Rhyme was not recorded by him. It
+might be of interest to know that the Negroes, when themselves telling
+the Folk stories, usually sang the Folk Rhyme portions to little
+"catchy" Negro tunes. I would not under any circumstances intimate that
+Mr. Harris carelessly left them out. He recorded many little stanzas in
+the midst of the stories. Examples are:
+
+    (a) "We'll stay at home when you're away
+        'Cause no gold won't pay toll."
+
+    (b) "Big bird catch, little bird sing.
+        Bug bee zoom, little bee sting.
+        Little man lead, and the big horse follow,
+        Can you tell what's good for a head in a hollow?"
+
+These and many others are fragmentarily recorded among Mr. Harris' Negro
+stories in "Nights With Uncle Remus."
+
+Folk Rhymes also formed in many cases the words of Negro Play Songs.
+"Susie Girl," and "Peep Squirrel," found in our collection, are good
+illustrations of the Rhymes used in this way. The words and the music of
+such Rhymes were usually of poor quality. When, however, they were sung
+by children with the proper accompanying body movements, they might
+quite well remind one of the "Folk Dances" used in the present best
+up-to-date Primary Schools. They were the little rays of sunshine in the
+dark dreary monotonous lives of black slave children.
+
+Possibly the thing which will impress the reader most in reading Negro
+Folk Rhymes is their good-natured drollery and sparkling nonsense. I
+believe this is very important. Many have recounted in our hearing, the
+descriptions of "backwoods" Negro picnics. I have witnessed some of
+them where the good-natured vender of lemonade and cakes cried out:
+
+    "Here's yō' cōl' ice lemonade,
+    It's made in de shade,
+    It's stirred wid a spade.
+    Come buy my cōl' ice lemonade.
+    It's made in de shade
+    An' sōl' in de sun.
+    Ef you hain't got no money,
+    You cain't git none.
+    One glass fer a nickel,
+    An' two fer a dime,
+    Ef you hain't got de chink,
+    You cain't git mine.
+    Come right dis way,
+    Fer it shō' will pay
+    To git candy fer de ladies
+    An' cakes fer de babies."
+
+"Did these venders sell?" Well, all agree that they did. The same
+principle applied, with much of the nonsense eliminated, will probably
+make of the Negro a great merchant, as caste gives way enough to allow
+him a common man's business chance. Of all the races of men, the Negro
+alone has demonstrated his ability to come into contact with the white
+man and neither move on nor be annihilated. I believe this is largely
+due to his power to muster wit and humor on all occasions, and even to
+laugh in the face of adversity. He refused during the days of slavery to
+take the advice of Job's wife, and to "Curse God and die." He repeated
+and sang his comic Folk Rhymes, danced, lived, and came out of the Night
+of Bondage comparatively strong.
+
+The compiler of the Rhymes was quite interested to find that as a rule
+the country-reared Negro had a larger acquaintance with Folk Rhymes than
+one brought up in the city. The human mind craves occasional recreation,
+entertainment, and amusement. In cities where there is an almost
+continuous passing along the crowded thoroughfares of much that
+contributes to these ends, the slave Negro needed only to keep his eyes
+open, his ears attentive, and laugh. He directed his life accordingly.
+But, in the country districts there was only the monotony of quiet woods
+and waving fields of cotton. The rural scenes, though beautiful in
+themselves, refuse to amuse or entertain those who will not hold
+communion with them. The country Negro longing for amusement communed in
+his crude way, and Nature gave him Folk Rhymes for entertainment. Among
+those found to be clearly of this kind may be mentioned "The Great Owl's
+Song," "Tails," "Redhead Woodpecker," "The Snail's Reply," "Bob-white's
+Song," "Chuck Will's Widow Song," and many others.
+
+The Folk Rhymes were not often repeated as such or as whole compositions
+by the "grown-ups" among Negroes apart from the Play and the Dance. If,
+however, you had had an argument with an antebellum Negro, had gotten
+the better of the argument, and he still felt confident that he was
+right, you probably would have heard him close his side of the debate
+with the words: "Well, 'Ole Man Know-All is Dead.'" This is only a short
+prosaic version of his rhyme "Old Man Know-All," found in our
+collection. Many of the characteristic sayings of "Uncle Remus" woven
+into story by Joel Chandler Harris had their origin in these Folk
+Rhymes. "Dem dat know too much sleep under de ash-hopper" (Uncle Remus)
+clearly intimates to all who know about the old-fashioned ash-hopper
+that such an individual lies. This saying is a part of another stanza of
+"Old Man Know-All," but I cannot recall it from my dim memory of the
+past, and others whom I have asked seem equally unable to do so, though
+they have once known it.
+
+As is the case with all things of Folk origin, there is usually more
+than one version of each Negro Folk Rhyme. In many cases the exercising
+of a choice between many versions was difficult. I can only express the
+hope that my choices have been wise.
+
+There are two American Negro Folk Rhymes in our collection: "Frog in a
+Mill" and "Tree Frogs," which are oddities in "language." They are
+rhymes of a rare type of Negro, which has long since disappeared. They
+were called "Ebo" Negroes and "Guinea" Negroes. The so-called "Ebo"
+Negro used the word "la" very largely for the word "the." This and some
+other things have caused me to think that the "Ebo" Negro was probably
+one who was first a slave among the French, Spanish, or Portuguese, and
+was afterwards sold to an English-speaking owner. Thus his language was
+a mixture of African, English, and one of these languages. The so-called
+"Guinea" Negro was simply one who had not been long from Africa; his
+language being a mixture of his African tongue and English. These rhymes
+are to the ordinary Negro rhymes what "Jutta Cord la" in "Nights with
+Uncle Remus," by Joel Chandler Harris, is to the ordinary Negro stories
+found there. They are probably representative, in language, of the most
+primitive Negro Folk productions.
+
+Some of the rhymes are very old indeed. If one will but read "Master Is
+Six Feet One Way," found in our collection, he will find in it a
+description of a slave owner attired in Colonial garb. It clearly
+belongs, as to date of composition, either to Colonial days, or to the
+very earliest years of the American Republic. When we consider it as a
+slave rhyme, it is far from crudest, notwithstanding the early period of
+its production.
+
+If one carefully studies our collection of rhymes, he will probably get
+a new and interesting picture of the Negro's mental attitude and
+reactions during the days of his enslavement. One of these mental
+reactions is calculated to give one a surprise. One would naturally
+expect the Negro under hard, trying, bitter slave conditions, to long to
+be white. There is a remarkable Negro Folk rhyme which shows that this
+was not the case. This rhyme is: "I'd Rather Be a Negro Than a Poor
+White Man." We must bear in mind that a Folk Rhyme from its very nature
+carries in it the crystallized thought of the masses. This rhyme, though
+a little acidic and though we have recorded the milder version, leaves
+the unquestioned conclusion that, though the Negro masses may have
+wished for the exalted station of the rich Southern white man and
+possibly would have willingly had a white color as a passport to
+position, there never was a time when the Negro masses desired to be
+white for the sake of being white. Of course there is the Negro rhyme,
+"I Wouldn't Marry a Black Girl," but along with it is another Negro
+rhyme, "I Wouldn't Marry a White or a Yellow Negro Girl." The two rhymes
+simply point out together a division of Negro opinion as to the ideal
+standard of beauty in personal complexion. One part of the Negroes
+thought white or yellow the more beautiful standard and the other part
+of the Negroes thought black the more beautiful standard.
+
+The body of the Rhymes, here and there, carries many facts between the
+lines, well worth knowing.
+
+This collection also will shed some light on how the Negro managed to go
+through so many generations "in slavery and still come out" with a
+bright, capable mind. There were no colleges or schools for them, but
+there were Folk Rhymes, stories, Jubilee songs, and Nature; they used
+these and kept mentally fit.
+
+I now approach the more difficult and probably the most important
+portion of my discussion in the Study of Negro Folk Rhymes. It is a
+discussion that I would have willingly omitted, had I not thought that
+some one owed it to the world. Seeing a debt, as I thought, and not
+seeing another to pay it, I have reluctantly undertaken to discharge
+the obligation.
+
+If I were so fortunate as to possess a large flower garden with many new
+and rare genera and species, and wished to acquaint my friends with
+them, I should first take these friends for a walk through the garden,
+that they might see the odd tints and hues, might inhale a little of the
+new fragrance, and might get some idea as to the prospects for the
+utilization of these new plants in the world. Then, taking these friends
+back to my study room, I should consider in a friendly manner along with
+them, the Families and the Species, and the varieties. Finally, I should
+endeavor to lay before them from whence these new and strange flowers
+came. I have endeavored to pursue this method in my discussion of the
+Negro Folk Rhymes. In the foregoing I have endeavored to take the
+friendly reader for a walk through this new and strange garden of
+Rhymes, and I now extend an invitation to him to come into the Study
+Room for a more critical view of them.
+
+When one enters upon the slightest contemplation of Negro Folk Rhyme
+classification, and is kind-hearted enough to dignify them with a claim
+to kinship to real poetry, the word _Ballad_ rolls out without the
+slightest effort, as a term that takes them all in. Yes, this is very
+true, but they are of a strange type indeed. They are Nature Ballads,
+many of them, in the sense as ordinarily used. In quite another sense,
+however, from that in which Nature Ballad is ordinarily used, about all
+Folk Rhymes are Nature Ballads.
+
+I do not have reference to the thought content, but have reference to
+what I term Nature Ballads in form. Permit me to explain by analogy just
+what I would convey by the term Nature Ballad in form.
+
+All Nature is one. Though we arbitrarily divide Nature's objects for
+study, they are indissolubly bound together and every part carries in
+some part of its constitution some well defined marks which characterize
+the other parts with which it has no immediate connection. To
+illustrate: the absolutely pure sapphire, pure aluminic oxide,
+crystallized, is commonly colorless, but we know that Nature's most
+beautiful sapphires are not colorless, but are blue, and of other
+beautiful tints. These color tints are due to minutest traces of other
+substances, not at all of general common sapphire composition. We call
+them all sapphires, however, regardless of their little impurities which
+are present to enhance their charm and beauty. Likewise, all animal life
+begins with one cell, and though the one cell in one case develops into
+a vertebrate, and in another case into an invertebrate the cells persist
+and so all animal life has cellular structure in common. Yet, each
+animal branch has predominant traits that distinguish it from all other
+branches. This same thing is true of plants.
+
+Nature's method, then, of making things seems to be to put in a large
+enough amount of one thing to brand the article, and then to mix in, in
+small amounts, enough of other things to lend charm and beauty without
+taking the article out of its general class.
+
+This is that which goes to make Negro Folk Rhymes Nature Ballads in
+form. They are ballads, but all in the midst of even a Dance Song, by
+Nature an ordinary ballad, there may be interwoven comedy, tragedy, and
+nearly every kind of imaginable thing which goes rather with other
+general forms of poetry than with the ballad. As an example, in the
+Dance Song, "Promises of Freedom," we have mustered before our eyes the
+comic drawing of a deceptive ugly old Mistress and then follows the
+intimation of the tragic death of a poisoned slave owner, and as we are
+tempted to dance along in thought with the rhymer, we cannot escape
+getting the subtle impression that this slave had at least some "vague"
+personal knowledge of how the Master got that poison. It is a common
+easy-going ballad, but it is tinted with tragedy and comedy. This
+general principle will be found to run very largely through the highest
+types of Negro Folk Rhymes. It is the Nature method of construction, and
+thus we call them Nature Ballads in structure, or form.
+
+Other good examples of rhymes, Nature Ballads in structure, are "Frog
+Went a-Courting," "Sheep Shell Corn," "Jack and Dinah Want Freedom."
+
+I now direct attention further to the classification of Negro Rhymes as
+Ballads. My earnest desire was to classify Negro Rhymes under ordinary
+headings such as are used by literary men and women everywhere in their
+general classification of Ballads. I considered this very important
+because it would enable students of comparative Literature to compare
+easily the Negro Folk Rhymes with the Folk Rhymes of all peoples. I was
+much disappointed when I found that the Negro Folk Rhymes, when invited,
+refused to take their places whole-heartedly in the ordinary
+classification. As an example of many may be mentioned the little Rhyme
+"Jaybird." It is a Dance Song, and thus comes under the Dance Song
+Division, commonly used for Ballads. But, it also belongs under Nature
+Lore heading, because the Negroes many years ago often told a story, in
+conjunction with song, of the great misfortunes which overtook a Negro
+who tried to get his living by hunting Jaybirds. Finally it also belongs
+under the heading Superstitions, for its last stanza very plainly
+alludes to the old Negro superstition of slavery days which declared
+that it was almost impossible to find Jaybirds on Friday because they
+went to Hades on that day to carry sand to the Devil.
+
+But so important do I think of comparative study that I have taken the
+ordinary headings used for Ballads and, after adding that omnibus
+heading "Miscellaneous," have done my best. The majority of the Rhymes
+can be placed under headings ordinarily used. This was to be expected.
+It is in obedience to Natural Law. We see it in the Music World. The
+Caucasian music has eight fundamental tones, the Japanese music has
+five, while, according to some authorities, Negro Jubilee-music has
+nine; yet all these music scales have five tones in common. In the
+Periodic System of Elements there are two periods; a short period and a
+long period, but both periods embrace, in common, elements belonging to
+the same family. So with the Ballads, certain classification headings
+will very well take in both the Negro and all others. The Negro Ballad,
+however, does not entirely properly fit in. I have therefore resorted to
+the following expedient: I have taken the headings ordinarily used, and
+have listed under each heading the Negro Rhymes which belong with it, as
+nearly as possible. I have placed this classified list at the end of the
+book, under the title "Comparative Study Index." By using this Index one
+can locate and compare Negro Folk productions with the corresponding
+Folk productions of other peoples.
+
+The headings found in this Comparative Study Index are as follows:
+
+   1. Love Songs.
+   2. Dance Songs.
+   3. Animal and Nature Lore.
+   4. Nursery Rhymes.
+   5. Charms and Superstitions.
+   6. Hunting Songs.
+   7. Drinking Songs.
+   8. Wise and Gnomic Sayings.
+   9. Harvest Songs.
+  10. Biblical and Religious Themes.
+  11. Play Songs.
+  12. Miscellaneous.
+
+With the way paved for others to make such comparative study as they
+would like, I now feel free to use a classification which lends itself
+more easily to a discussion of the origin and evolution of Negro Rhyme.
+The basic principle used in this classification is Origin and under each
+source of origin is placed the various classes of Rhymes produced. It
+has seemed to the writer, who is himself a Negro, and has spent his
+early years in the midst of the Rhymes and witnessed their making, that
+there are three great divisions derived from three great mainsprings or
+sources.
+
+The Divisions are as follows:
+
+  I. Rhymes derived from the Social Instinct.
+  II. Rhymes derived from the Homing Instinct.
+  III. Rhymes of Psycho-composite origin.
+
+The terms Social and Homing Instincts are familiar to every one, but the
+term Psycho-composite was coined by the writer after much hesitation and
+with much regret because he seemed unable to find a word which would
+express what he had in mind.
+
+To make clear: the classes of Rhymes falling under Divisions I and II
+owe their crudest initial beginnings to instinct, while those under
+Division III owe their crudest beginnings partly to instinct, but partly
+also to intelligent thinking processes. To illustrate--Courtship Rhymes
+come under Division II, because courtship primarily arises from the
+homing instinct, but when we come to "quasi" wise sayings--directed
+largely to criticism or toward improvement, there is very much more than
+instinct concerned. In Division III the Rhymes are directed largely to
+improvement. In explanation of why they are in Division III, I would
+say, the desire to better one's condition is instinctive, but the
+slightest attainment of the desire comes through thought pure and
+simple. I have invented the term Psycho-composite to include all this.
+
+In reading the Rhymes under Division III, one finds comparatively large,
+abstract, general conclusions, such as--General loquaciousness is
+unwise: Assuming to know everything is foolish: Self-control is a great
+virtue. Proper preparation must be made before presuming to give
+instruction, etc. Such generalizations involve something not necessarily
+present in the crudest initiations of such Rhymes as those found under
+Divisions I and II. Below is a tabular view of my proposed
+classification of Negro Folk Rhymes:
+
+          DIVISION                    CLASS
+
+                                1. Dance Rhymes
+  I. Social Instinct Rhymes     2. Dance Rhyme Songs
+                                3. Play Songs
+                                4. Pastime Rhymes
+
+                                1. Love Rhymes
+  II. Homing Instinct Rhymes    2. Courtship Rhymes
+                                3. Marriage Rhymes
+                                4. Married Life Rhymes
+
+  III. Psycho-composite Rhymes  1. Criticism and Improvement Rhymes
+
+Under this tabulation, let us now proceed to discuss the Origin and
+Evolution of Negro Folk Rhymes.
+
+Early in my discussion the reader will recall that I explained in
+considerable detail how the Dance Rhyme words were used in the dance. I
+am now ready to announce that the Dance Rhyme was derived from the
+dance, and to explain how the Dance Rhyme became an evolved product of
+the dance.
+
+I witnessed in my early childhood the making of a few Dance Rhymes. I
+have forgotten the words of most of those whose individual making I
+witnessed but the "Jonah's Band Party" found in our collection is one
+whose making I distinctly recall. I shall tell in some detail of its
+origin because it serves in a measure to illustrate how the Dance Rhymes
+probably had their beginnings. First of all be it known that there was a
+"step" in dancing, originated by some Negro somewhere, called "Jonah's
+Band" step. There is no need that I should try to describe that step
+which, though of the plain dance type, was accompanied from the
+beginning to the end by indescribable "frills" of foot motion. I can't
+describe it, but if one will take a stick and cause it to tap so as to
+knock the words: "Setch a kickin' up san'! Jonah's band," while he
+repeats the words in the time of 2/4 music measure, the taps will
+reproduce the tattoo beaten upon the ground by the feet of the dancers,
+when they danced the "Jonah's Band" step. The dancers formed a circle
+placing two or more of their skilled dancers in the middle of it. Now
+when I first witnessed this dance, there were no words said at all.
+There was simply patting with the hands and dancing, making a tattoo
+which might be well represented by the words supplied later on in its
+existence. Later, I witnessed the same dance, where the patting and
+dancing were as usual, but one man, apparently the leader, was simply
+crying out the words, "Setch a kickin' up san'!" and the crowd answered
+with the words, "Jonah's Band!"--the words all being repeated in
+rhythmic harmony with the patting and dancing. Thus was born the line,
+"Setch a kickin' up san'! Jonah's Band!" In some places it was the
+custom to call on the dancers to join with those of the circle, at
+intervals in the midst of the dance, in dancing other steps than the
+Jonah's Band step. Some dance leaders, for example, simply called in
+plain prose--"Dance the Mobile Buck," others calling for another step
+would rhyme their call. Thus arose the last lines to each stanza, such
+as--
+
+    "Raise yō' right foot, kick it up high!
+    Knock dat 'Mobile Buck' in de eye!"
+
+This is the genesis of the "Jonah's Band Party," found in our
+collection. The complete rhyme becomes a fine description of an old-time
+Negro party. It is probable that much Dance Rhyme making originated in
+this or a similar way.
+
+Let us assume that Negro customs in Slavery days were what they were in
+my childhood days, then it would come about that such an ocasional Rhyme
+making in a crowd would naturally stimulate individual Rhyme makers, and
+from these individuals would naturally grow up "crops" of Dance Rhymes.
+Of course I cannot absolutely know, but I think when I witnessed the
+making of the "Jonah's Band Party," that I witnessed the stimulus which
+had produced the Dance Rhyme through the decades of preceding years. I
+realize, however, that this does not account for the finished Rhyme
+products. It simply gives one source of origin. How the Rhyme grew to
+its complex structure will be discussed later, because that discussion
+belongs not to the Dance Rhyme alone, but to all the Rhymes.
+
+There was a final phase of development of "Jonah's Band Party" witnessed
+by the writer; namely, the singing of the lines, "Setch a kickin' up
+san'! Jonah's Band!" The last lines of the stanzas, the lines calling
+for another step on the part of both the circle and the dancers, were
+never sung to my knowledge. The little tune to the first lines consisted
+of only four notes, and is inserted below.
+
+[music]
+
+I give this as of interest because it marks a partial transition from a
+Dance Rhyme to a Dance Rhyme Song. In days of long ago I occasionally
+saw a Dance Rhyme Song "patted and danced" instead of sung or played and
+danced. This coupled with the transition stage of the "Jonah's Band
+Dance" just given has caused me to believe that Dance Rhyme Songs were
+probably evolved from Dance Rhymes pure and simple, through individuals
+putting melodies to these Dance Rhymes.
+
+As Dance Rhymes came from the dance, so likewise Play Rhymes came from
+plays. I shall now discuss the one found in our collection under the
+caption--"Goosie-gander." Since the Play has probably passed from the
+memory of most persons, I shall tell how it was played. The children
+(and sometimes those in their teens) sat in a circle. One individual,
+the leader, walked inside the circle, from child to child, and said to
+each in turn, "Goosie-gander." If the child answered "Goose," the leader
+said, "I turn your ears loose," and went on to the next child. If he
+answered "Gander," the leader said, "I pull yō' years 'way yander."
+Then ensued a scuffle between the two children; each trying to pull the
+other's ears. The fun for the circle came from watching the scuffle.
+Finally the child who got his ears pulled took his place in the circle,
+leaving the victor as master of ceremonies to call out the challenge
+"Goosie-gander!" The whole idea of the play is borrowed from the
+fighting of the ganders of a flock of geese for their mates. Many other
+plays were likewise borrowed from Nature. Examples are found in "Hawk
+and Chickens Play," and "Fox and Geese Play." "Caught by a Witch Play"
+is borrowed from superstition. But to return to "Goosie-gander"--most
+children of our childhood days played it, using common prose in the
+calls, and answers just as we have here described it. A few children
+here and there so gave their calls and responses as to rhyme them into a
+kind of a little poem as it is recorded in our collection. Without
+further argument, I think it can hardly be doubted that the whole thing
+began as a simple prose call, and response, and that some child inclined
+to rhyming things, started "to do the rest," and was assisted in
+accomplishing the task by other children equally or more gifted. This
+reasonably accounts for the origin of the Play Rhyme.
+
+Now what of the Play Rhyme Songs? There were many more Play Rhyme Songs
+than Play Rhymes. There were some of the Play Rhyme Songs sung in prose
+version by some children and the same Play Song would be sung in rhymed
+version by other children. Likewise the identical Play Song would not be
+sung at all by other children; they would simply repeat the words as in
+the case of the Rhyme "Goosie-gander," just discussed. The little Play
+Song found in our collection under the caption, "Did You Feed My Cow?"
+is one which was current in my childhood in the many versions as just
+indicated. The general thought in the story of the Rhyme was the same in
+all versions whether prose or rhyme, or song. In cases where children
+repeated it instead of singing it, it was generally in prose and the
+questions were so framed by the leader that all the general responses by
+the crowd were "Yes, Ma'am!" Where it was sung, it was invariably
+rhymed; and the version found in this collection was about the usual
+one.
+
+The main point in the discussion at this juncture is--that there were
+large numbers of Play Songs like this one found in the transition stage
+from plain prose to repeated rhyme, and to sung rhyme. Such a status
+leaves little doubt that the Play Song travelled this general road in
+its process of evolution.
+
+I might take up the Courtship Rhymes, and show that they are derivatives
+of Courtship, and so on to the end of all the classes given in my
+outline, but since the evidences and arguments in all the cases are
+essentially the same I deem it unnecessary.
+
+I now turn attention to a peculiar general ideal in Form found in Negro
+Folk Rhymes. It probably is not generally known that the Negroes, who
+emerged from the House of Bondage in the 60's of the last century, had
+themselves given a name to their own peculiar form of verse. If it be
+known I am rather confident that it has never been written. They named
+the parts of their verse "Call," and (Re) "Sponse." After explaining
+what is meant by "call" and "sponse," I shall submit an evidence on the
+matter. In its simplest form "call" and "sponse" were what we would call
+in Caucasian music, solo and chorus. As an example, in the little Play
+Song used in our illustration of Play Songs, "Did You Feed My Cow?" was
+sung as a solo and was known as the "Call," while the chorus that
+answered "Yes, Ma'am" was known as the "Sponse."
+
+I now beg to offer testimony in corroboration of my assertion that
+Negroes had named their Rhyme parts "Call" and "Sponse." So well were
+these established parts of a Negro Rhyme recognized among Negroes that
+the whole turning point of one of their best stories was based upon it.
+I have reference to the Negro story recorded by Mr. Joel Chandler Harris
+in his "Nights with Uncle Remus," under the caption, "Brother Fox,
+Brother Rabbit, and King Deer's Daughter." Those who would enjoy the
+story, as the writer did in his childhood days, as it fell from the lips
+of his dear little friends and dusky playmates, will read the story in
+Mr. Harris' book. The gist of the story is as follows: The fox and the
+rabbit fall in love with King Deer's daughter. The fox has just about
+become the successful suitor, when the rabbit goes through King Deer's
+lot and kills some of King Deer's goats. He then goes to King Deer, and
+tells him that the fox killed the goats, and offers to make the fox
+admit the deed in King Deer's hearing. This being agreed to, the rabbit
+goes to find the fox, and proposes that they serenade the King Deer
+family. The fox agreed. Then the rabbit proposes that he sing the "Call"
+and that the fox sing the "Sponse" (or, as Mr. Harris records the story,
+the "answer"), and this too was agreed upon. We now quote from Mr.
+Harris:
+
+"Ole Br'er Rabbit, he make up de song he own se'f en' he fix it so that
+he sing de _Call_ lak de Captain er de co'n-pile, en ole Br'er Fox, he
+hatter sing de answer...." "Ole Br'er Rabbit, he got de call en he open
+up lak dis:
+
+    "'Some folks pile up mo'n dey kin tote,
+    En dat w'at de matter wid King Deer's goat.'
+
+en den Br'er Fox, he make _answer_, 'Dat's so, dat's so, en I'm glad dat
+it's so.' Den de quills, and de tr'angle, dey come in, en den Br'er
+Rabbit pursue on wid de call--
+
+    "'Some kill sheep, en some kill shote,
+    But Br'er Fox kill King Deer goat,'
+
+en den Br'er Fox, he jine in wid de answer, 'I did, I did, en I'm glad
+dat I did.'"
+
+The writer would add that the story ends with a statement that King Deer
+came out with his walking cane, and beat the fox, and then invited the
+rabbit in to eat chicken pie.
+
+From the foregoing one will recognize the naming, by the Negroes
+themselves, of the parts of their rhymed song, as "call," and "answer."
+Now just a word concerning the term "answer," instead of "sponse," as
+used by the writer. You will notice that Mr. Harris records,
+incidentally, of Br'er Rabbit "dat he sing de _call_, lak de Captain er
+de co'n pile." This has reference to the singing of the Negroes at corn
+huskings where the leader sings a kind of solo part, and the others by
+way of response, sing a kind of chorus. At corn huskings, at plays, and
+elsewhere, when Negroes sang secular songs, some one was chosen to lead.
+As a little boy, I witnessed secular singing in all these places. When a
+leader was chosen, the invariable words of his commission were: "You
+sing the 'call' and we'll sing the '_sponse_.'" Of course the sentence
+was not quite so well constructed grammatically, but "call" and "sponse"
+were the terms always used. This being true, I have felt that I ought to
+use these terms, though I recognize the probability of there being
+communities where the word _answer_ would be used. All folk terms and
+writings have different versions.
+
+The "sponses" in most of the Negro Folk Rhymes in our collection are
+wanting, and the Rhymes themselves, in most cases, consist of calls
+only. As examples of those with "sponses" left, may be mentioned "Juba"
+with its sponse "Juba"; "Frog Went A-courting," with its sponse
+"Uh-huh!"; "Did You Feed My Cow?" with its sponse "Yes, Ma'am," etc.,
+and "The Old Black Gnats," where the sponses are "I cain't git out'n
+here, etc."
+
+I shall now endeavor to show why the Negro Folk Rhymes consist in most
+cases of "calls" only, and how and why the "sponses" have disappeared
+from the finished product. I record here the notes of two common Negro
+Play Songs along with sample stanzas used in the singing of them. I hope
+through a little study of these, to make clear the matter of Folk Rhyme
+development, to the point of dropping the "sponse."
+
+[music]
+
+[music]
+
+These simple little songs,--the first made up of five notes, and the
+second of seven,--are typical Negro Play songs. I shall not describe the
+simple play which accompanied them because that description would not
+add to the knowledge of the evolution under consideration.
+
+At a Negro Evening Entertainment several such songs would be sung and
+played, and some individual would be chosen to lead or sing the "calls"
+of each of the songs. The 'sponses in some cases were meaningless
+utterances, like "Holly Dink," given in the first song recorded, while
+others were made up of some sentence like "'Tain't Gwineter Rain No
+Mō'!" found in the second song given. The "sponses" were not expected
+to bear a special continuous relation in thought to the "calls." Indeed
+no one ever thought of the 'sponses as conveyers of thought, whether
+jumbled syllables or sentences. The songs went under the names of the
+various sponses. Thus the first Play Song recorded was known as "Holly
+Dink," and the second as "'Tain't Gwineter Rain No Mō'."
+
+The playing and singing of each of these songs commonly went on
+continuously for a quarter of an hour or more. This being the case, we
+scarcely need add that the leader of the Play Song had both his memory
+and ingenuity taxed to their utmost, in devising enough "calls" to last
+through so long a period of time of continuous playing and singing. The
+reader will notice under both of the Play Songs recorded, that I have
+written under "(a)" two stanzas of prose "calls." I would convey the
+thought to the reader, by these illustrations, that the one singing the
+"calls" was at liberty to use, and did use any prose sentence that would
+fit in with the "call" measures of the song.
+
+Of course these prose "calls" had to be rhythmic to fit into the
+measures, but much freedom was allowed in respacing the time allotted to
+notes, and in the redivision of the notes in the "fitting in" process.
+Even these prose stanzas bore the mark of Rhyme to the Negro fancy. The
+reader will notice that, where the "call" is in prose, it is always
+repeated, and thus the line in fancy rhymed with itself. Examples as
+found in our Second Play Song:
+
+    "Hail storm, frosty night.
+     Hail storm, frosty night."
+
+Now, it was considered by Negroes, in the days gone by, something of an
+accomplishment for a leader to be able to sing "calls," for so long a
+time, when they bore some meaning, and still a greater accomplishment
+to sing the calls both in rhyme and with meaning. This led each
+individual to rhyme his calls as far as possible because leaders were
+invited to lead songs during an evening's entertainment, largely in
+accordance with their ability, and thus those desiring to lead were
+compelled to make attainment in both rhyme and meaning. Now, the reader
+will notice under "Holly Dink," heading "(b)," "I shō' loves Miss
+Donie." This is a part of the opening line of our Negro Rhyme, "Likes
+and Dislikes." I would convey the thought to the reader that this whole
+Rhyme, and any other Negro Rhyme which would fit into a 2/4 music
+measure, could be, and was used by the Play Song leader in singing the
+calls of "Holly Dink." Thus a leader would lead such a song; and by
+using one whole Rhyme after another, succeed in rhyming the calls for a
+quarter of an hour. If his Rhymes "gave out," he used rhythmic prose
+calls; and since these did not need to have meaning, his store was
+unlimited. Just as any Rhyme which could be fitted into a 2/4 music
+measure would be used with "Holly Dink," so any Rhyme which could be
+fitted into a 4/4 measure would be used with the "'Tain't Gwineter Rain
+No Mō'." Illustrations given under "(b)" and "(c)" under the last
+mentioned song are--"Promises of Freedom," and "Hawk and Buzzard."
+
+Since all Negro Songs with a few exceptions were written in 4/4 measures
+and 2/4 measures, and Negro rhymed "calls" were also written in the same
+way, the rhymed "calls" which may have originated with one song were
+transferred to, and used with other songs. _Thus the rhymed "calls"
+becoming detached for use with any and all songs into which they could
+be fitted, gave rise to the multitude of Negro Folk Rhymes, a small
+fragment of which multitude is recorded in our collection._ Negro Dances
+and Dance Rhymes were both constructed in 2/4 and 4/4 measures, and the
+Rhymes were propagated for that same reason. Rhymes, once detached from
+their original song or dance, were learned, and often repeated for mere
+pastime, and thus they were transmitted to others as unit compositions.
+
+We have now seen how detached rhymed "calls" made our Negro Folk Rhymes.
+Next let us consider how and why whole little "poems" arose in a Play
+Song. One will notice in reading Negro Folk Rhymes that the larger
+number of them tell a little story or give some little comic
+description, or some little striking thought. Since all the Rhymes had
+to be memorized to insure their continued existence, and since Memory
+works largely through Association; one readily sees that the putting of
+the Rhymes into a story, descriptive, or striking thought form, was the
+only thing that could cause their being kept alive. It was only through
+their being composed thus that Association was able to assist Memory in
+recalling them. Those carrying another form carried their death warrant.
+
+Now let us look a little more intimately into how the Rhymes were
+probably composed. In collecting them, I often had the same Rhyme given
+to me over and over again by different individuals. Most of the Rhymes
+were given by different individuals in fragmentary form. In case of all
+the Rhymes thus received, there would always be a half stanza, or a
+whole stanza which all contributors' versions held in common. As
+examples: in "Promises of Freedom," all contributors gave the lines--
+
+    "My ole Mistiss promise me
+    W'en she died, she'd set me free."
+
+In "She Hugged Me and Kissed Me," the second stanza was given by all. In
+"Old Man Know-All," the first two lines of the last stanza came from all
+who gave the Rhyme. The writer terms these parts of the individual
+Rhymes, seemingly known to all who know the "poems," _key verses_. The
+very fact that the key verses, only, are known to all, seems to me to
+warrant the conclusion that these were probably the first verses made in
+each individual Rhyme. Now when an individual made such a key verse, one
+can easily see that various singers of "calls" using it would attempt to
+associate other verses of their own making with it in order to remember
+them all for their long "singing Bees." The story, the description, and
+the striking thought furnished convenient vehicles for this association
+of verses, so as to make them easy to keep in memory. This is why the
+verses of many singers of "Calls" finally became blended into little
+poem-like Rhymes.
+
+I have pointed out "call" and "sponse," in Rhymes, and have shown how,
+through them, in song, the form of the Negro Rhyme came into existence.
+But many of the Pastime Rhymes apparently had no connection with the
+Play or the Dance. I must now endeavor to account for such Rhymes as
+these.
+
+In order to do this, I must enter upon the task of trying to show how
+"call" and "sponse" originated.
+
+The origin of "call" and "sponse" is plainly written on the faces of the
+rhymes of the Social Instinct type. Read once again the following rhyme
+recorded in our collection under the caption of "Antebellum Courtship
+Inquiry"--
+
+    (He)--"Is you a flyin' lark, or a settin' dove?"
+    (She)--"I'se a flyin' lark, my Honey Love."
+    (He)--"Is you a bird o' one fedder, or a bird o' two?"
+    (She)--"I'se a bird o' one fedder, w'en it comes to you."
+    (He)--"Den Mam:
+    "I has desire an' quick temptation
+    To jine my fence to yō' plantation."
+
+This is primitive courtship; direct, quick, conclusive. It is the crude
+call of one heart, and the crude response of another heart. The two
+answering and blending into one, in the primitive days, made a rhymed
+couplet--one. It is "call" and "sponse," born to vibrate in
+complementary unison with two hearts that beat as one. "Did all Negroes
+carry on courtship in this manner in olden days?" No, not by any means.
+Only the more primitive by custom, and otherwise used such forms of
+courtship. The more intelligent of those who came out of slavery had
+made the white man's customs their own, and laughed at such crudities,
+quite as much as we of the present day. The writer thinks his ability
+to recall from childhood days a clear remembrance of many of these
+crude things is due to the fact that he belonged to a Negro family that
+laughed much, early and late, at such things. But the simple forms of
+"call" and "sponse" were used much in courtship by the more primitive.
+This points out something of the general origin of "call" and "sponse"
+in Social Instinct Rhymes, but does not account for their origin in
+other types of Rhymes. I now turn attention to those.
+
+About eighteen years ago I was making a Sociological investigation for
+Tuskegee Institute, which carried me into a remote rural district in the
+Black Belt of Alabama. In the afternoon, when the Negro laborers were
+going home from the fields and occasionally during the day, these
+laborers on one plantation would utter loud musical "calls" and the
+"calls" would be answered by musical responses from the laborers on
+other plantations. These calls and responses had no peculiar
+significance. They were only for whatever pleasure these Negroes found
+in the cries and apparently might be placed in a parallel column
+alongside of the call of a song bird in the woods being answered by
+another. Dr. William H. Sheppard, many years a missionary in Congo,
+Africa, upon inquiry, tells me that similar calls and responses obtain
+there, though not so musical. He also tells me that the calls have a
+meaning there. There are calls and responses for those lost in the
+forest, for fire, for the approach of enemies, etc. These Alabama Negro
+calls, however, had no meaning, and yet the calls and responses so
+fitted into each other as to make a little complete tune.
+
+Now, I had heard "field" calls all during my early childhood in
+Tennessee, and these also were answered by men in adjoining fields. But
+the Tennessee calls and responses which I remembered had no kinship
+which would combine them into a kind of little completed song as was the
+case with the Alabama calls and responses.
+
+Again, in Tennessee when a musical call was uttered by the laborers in
+one field, those in the other fields around would often use identically
+the same call as a response. The Alabama calls and responses were short,
+while those of Tennessee were long.
+
+I am listing an Alabama "call" and "response." I regret that I cannot
+recall more of them. I am also recording three Tennessee calls or
+responses (for they may be called either). Then I am recording a fourth
+one from Tennessee, not exactly a call, but partly call and partly song.
+The reason for this will appear later. By a study of these I think we
+can pretty reasonably make a final interesting deduction as to the
+general origin of "call" and "sponse" in the form of the types of Rhyme
+not already discussed.
+
+In the Alabama Field Call and response one cannot help seeing a
+counterpart in music of the "call" and "sponse" in the words of the
+types of Rhymes already discussed.
+
+ALABAMA FIELD CALL AND RESPONSE
+
+[music]
+
+TENNESSEE FIELD CALLS OR RESPONSES
+
+[music]
+
+If one looks at Number 1 under the Tennessee calls or responses, there
+is nothing to indicate especially that it was ever other than the whole
+as it is here written. But when he looks at Number 2 under Tennessee
+calls or responses he is struck with the remarkable fact that it changes
+right in the midst from the rhythm of the 9/8 measure to that of the 6/8
+measure. Now if there be any one characteristic which is constant in
+Negro music it is that the rhythm remains the same throughout a given
+production. In a very, very few long Negro productions I have known an
+occasional change in the time, but _never_ in a musical production
+consisting of a few measures. The only reasonable explanation to be
+offered for the break in the time of Number 2, as a Negro production, is
+that it was originally a "call" and "response"; the "call" being in a
+9/8 measure and the "response" being in a 6/8 measure. Here then we have
+"call" and "sponse." It would look as if the Negroes in Tennessee had
+combined the "calls" and "sponses" into one and had used them as a
+whole. When we accept this view all the differences, between the Alabama
+and Tennessee productions, before mentioned are accounted for. Then
+looking again at Number 1 under Tennessee calls or responses, one sees
+that it would conveniently divide right in the middle to make a "call"
+and "sponse." Now look at Number 3 under Tennessee calls. It was usually
+cried off with the syllable _ah_ and would easily divide in the middle.
+I remember this "call" very distinctly from my childhood because the men
+giving it placed the thumb upon the larynx and made it vibrate
+longitudinally while uttering the cry. The thumb thus used produced a
+peculiar screeching and rattling tone that hardly sounded human. But the
+words "I want a piece of hoecake, etc.," as recorded under the "call,"
+were often rhymed off in song with it. Thus we trace the form of "call"
+and "sponse" from the friendly musical greeting between laborers at a
+distance to the place of the formation of a crude Rhyme to go with it. I
+would have the reader notice that these words finally supplied were in
+"call" and "sponse" form. The idea is that one individual says: "I want
+a piece of hoecake, I want a piece o' bread," and another chimes in by
+way of response: "Well, I'se so tired and hongry dat I'se almos' dead."
+
+"Ole Billie Bawlie" found as Number 4 was a little song which was used
+to deride men who had little ability musically to intonate "calls" and
+"sponses." The name "Bawlie" was applied to emphasize that the
+individual bawled instead of sounding pleasant notes. It is of interest
+to us because it is a mixture of Rhyme and Field "call" and completes
+the connecting links along the line of Evolution between the "call" and
+"sponse" and the Rhyme.
+
+Wherever one thing is derived from another by process of Evolution,
+there is the well known biological law that there ought to be every
+grade of connecting link between the original and the last evolved
+product. The law holds good here in our Rhymes. If this last statement
+holds good then the law must be universal. May we be permitted to
+digress enough to show that the law is universal because, though it is a
+law whose biological phase has been long recognized, not much attention
+has been paid to it in other fields.
+
+It holds good in the world of inanimate matter. There are three general
+classes of chemical compounds: Acids, bases, and salts. But along with
+these three general classes are found all kinds of connecting links:
+Acid salts, basic salts, hydroxy acids, etc.
+
+It holds good in the animal and plant worlds. Looking at the ancestors
+of the horse in geological history we find that the first kind of horse
+to appear upon the earth was the Œohippus. He had four toes on the
+hind foot and three on the front one. Through a long period of
+development, the present day one-toed horse descended from this
+many-toed primitive horse. There is certainty of the line of descent of
+the horse because all the connecting links have been discovered in
+fossil form, between the primitive horse and the present day horse.
+Plants in like manner show all kinds of connecting links.
+
+The law holds sway in the world of language; and that is the world with
+which we are concerned here. The state of Louisiana once belonged to the
+French; now it belongs to an English-speaking people. If one goes among
+the Creoles in Louisiana he will find a very few who speak almost
+Parisian French and very poor English. Then he will find a very large
+number who speak a pure English and a very poor French. Between these
+classes he will find those speaking all grades of French and English.
+These last mentioned are the connecting links, and the connecting links
+bespeak a line of evolution where those of French descent are gradually
+passing over to a class which will finally speak the English language
+exclusively.
+
+Now let us turn our attention again directly to the discussion of the
+evolution of Negro Folk Rhymes. One can judge whether or not he has
+discovered the correct line of descent of the Rhymes by seeing whether
+or not he has all the connecting links requisite to the line of
+evolution. I think it must be agreed that I have given every type of
+connecting link between common Field "calls" and "sponses," and
+incipient crude Negro Rhymes. They set the mold for the other general
+Negro Rhymes not hitherto discussed.
+
+If the reader will be kind enough to apply the test of connecting links
+to the Play and other Rhymes already discussed, he will find that the
+reactions will indicate that we have traced their correct lines of
+origin and descent.
+
+The spirit of "call" and "sponse" hovers ghost-like over the very
+thought of many Negro Rhymes. In "Jaybird," the first two lines of each
+stanza are a call in thought, while the last two lines are a "sponse" in
+thought to it. The same is true of "He Is My Horse," "Stand Back, Black
+Man," "Bob-White's Song," "Promises of Freedom," "The Town and the
+Country Bird," and many others.
+
+Then "call" and "sponse" looms up in the midst in thought between stanza
+and stanza in many Rhymes. Good examples are found in "The Great Owl's
+Song," "Sheep and Goat," "The Snail's Reply," "Let's Marry--Courtship,"
+"Shoo! Shoo!" "When I Go to Marry," and many others.
+
+"Call" and "sponse" even runs, at least in one case, between whole
+Rhymes. "I Wouldn't Marry a Black Girl" as a "call" has for its
+"sponse": "I Wouldn't Marry a Yellow or a White Negro Girl." The Rhyme
+"I'd Rather Be a Negro Than a Poor White Man" is a "sponse" to an
+imaginary "call" that the Negro is inferior by nature.
+
+After some consideration, as compiler of the Negro Rhymes, I thought I
+ought to say something of their rhyming system, but before doing this I
+want to consider for a little the general structure of a stanza in Negro
+Rhymes.
+
+Of course there is no law, but the number of lines in a stanza of
+English poetry is commonly a multiple of two. The large majority of
+Negro Rhymes follows this same rule, but, even in case of these, the
+lines are so unsymmetrical that they make but the faintest approach to
+the commonly accepted standards. Then there are Rhymes with stanzas of
+three lines and there are those with five, six, and seven lines. This is
+because the imaginary music measure is the unit of measurement instead
+of feet, and the stanzas are all right so long as they run in consonance
+with the laws governing music measures and rhythm. In a tune like "Old
+Hundred" commonly used in churches as a Doxology, there are four
+divisions in the music corresponding with the four lines of the stanza.
+Each division is called, in music, a Phrase. Two of these Phrases make a
+Phrase Group and two Phrase Groups make a Period. Now when one moves
+musically through a Phrase Group his sense of rhythm is partially
+satisfied and when he has moved through a Period the sense of Rhythm is
+entirely satisfied.
+
+When one reads the three line stanzas of Negro Folk Rhymes he passes
+through a music Period and thus the stanza satisfies in its rhythm.
+Example:
+
+    "Bridle up er rat,
+    Saddle up er cat,
+    An' han' me down my big straw hat."
+
+Here the first two lines are a Phrase each and constitute together a
+Phrase Group. The third line is made up of two Phrases, or a Phrase
+Group in itself. Thus this third line along with the first two makes a
+Music Period and the whole satisfies our rhythmic sense though the lines
+are apparently odd. In all Negro Rhymes, however odd in number and
+however ragged may seem the lines, the music Phrases and Periods are
+there in such symmetry as to satisfy our sense of rhythm.
+
+I now turn attention to the rhyming of the lines in Negro verse. The
+ordinary systems of rhyming as set forth by our best authors will take
+in most Negro Rhymes. Most of them are Adjacent and Interwoven Rhymes.
+There are five systems of rhyming commonly used in the white man's
+poetry but the Negro Rhyme has nine systems. Here again we find a
+parallelism, as in case of music scales, etc. Five in each system are
+the same. The ordinary commonly accepted systems are:
+
+  a   Where the adjacent lines rhyme by twos. We
+  a   call it "Adjacent rhymes" or a "Couplet."
+
+  a
+  b   Where the alternating lines rhyme we
+  a   call it "Alternate" or "Interwoven Rhyme."
+  b
+
+  a   Where lines 1 and 4, and 2 and 3 rhyme
+  b   respectively with each other. This is called
+  b   "Close Rhyme."
+  a
+
+  a   Where in a stanza of four lines, lines 2 and
+  b   4 only rhyme. This is sometimes also called
+  c   "Alternate Rhyme."
+  b
+
+  a
+  a   Where in a stanza of four lines 1, 2 and 4
+  b   rhyme. This is called "Interrupted Rhyme."
+  a
+
+I now beg to offer a system of classification in rhyming which will
+include all Negro Rhymes. I shall insert the ordinary names in
+parenthesis along with the new names wherever the system coincides with
+the ordinary system for white men's Rhymes. The only reason for not
+using the old names exclusively in these places is that nomenclature
+should be kept consistent in any proposed classification, so far as that
+is possible.
+
+In classifying the rhyming of the lines or verses I have borrowed terms
+from the gem world, partly because the Negro hails from Africa, a land
+of gems; and partly because the verses bear whatever beauty there might
+have been in his crude crystalized thoughts in the dark days of his
+enslavement.
+
+I present herewith the outline and follow it with explanations:
+
+    _Class_                          _Systems_
+
+  I Rhythmic Solitaire      (a) Rhythmic measured lines
+
+  II Rhymed Doublet         (a) Regular (Adjacent Rhyme)
+                            (b) Divided (Includes Close Rhyme)
+                            (c) Supplemented
+
+  III Rhyming Doublet       (a) Regular (Includes Alternate Rhyme)
+                            (b) Inverted (Close Rhyme)
+
+  IV Rhymed Cluster         (a) Regular
+                            (b) Divided (Interrupted Rhyme)
+                            (c) Supplemented
+
+_I a._ Rhythmic Solitaire, Rhythmic measured lines. In many Rhymes there
+is a rhythmic line dropped in here and there that doesn't rhyme with
+any other line. They are rhythmic like the other lines and serve equally
+to fill out the music Phrases and Periods. These are the Rhythmic
+Solitaires and because of their solitaire nature it follows that there
+is only one system. Examples are found in the first line of each stanza
+of "Likes and Dislikes"; in the second line of each stanza of "Old Aunt
+Kate;" in lines five and six of each stanza of "I'll Wear Me a Cotton
+Dress," in lines three and four of the "Sweet Pinks Kissing Song," etc.
+The Rhythmic Solitaires do not seem to have been largely used by Negroes
+for whole compositions. Only one whole Rhyme in our collection is
+written with Rhythmic Solitaires. That Rhyme is: "Song to the Runaway
+Slave." This Rhyme is made up of blank verse as measured by the white
+man's standard.
+
+_II a._ The Regular Rhymed Doublet. This is the same as our common
+Adjacent Rhyme. There are large numbers of Negro Rhymes which belong to
+this system. The "Jaybird" is a good example.
+
+_II b._ The Divided Rhymed Doublet. It includes Close Rhyme and there
+are many of this system. In ordinary Close Rhyme one set of rhyming
+lines (two in number) is separated by two intervening lines, but this
+"Rhyming Couplet" in Negro Rhymes may be separated by three lines as in
+"Bought Me a Wife," where the divided doublet consists of lines 3 and 7.
+Then the Divided Rhymed Doublet may be separated by only one line, as in
+"Good-by, Wife," where the Doublet is found in lines 5 and 7.
+
+_II c._ The Supplemented Rhymed Doublet. It is illustrated by "Juba"
+found in our collection. The words "Juba! Juba!" found following the
+second line of each stanza, are the supplement. I shall take up the
+explanation of Supplemented Rhyme later, since the explanation goes with
+all Supplemented Rhyme and not with the Doublet only. I consider the
+Supplement one of the things peculiarly characteristic of Negro Rhyme.
+The following stanza illustrates such a Supplemented Doublet:
+
+    "Juba jump! Juba sing!
+    Juba cut dat Pidgeon's Wing! Juba! Juba!"
+
+Representing such a rhyming by letters we have
+
+    (a
+    (a-x
+
+_III._ The Rhyming Doublet. It is generally made up of two consecutive
+lines not rhyming with each other but so constructed that one of the
+lines will rhyme with one line of another Doublet similarly constructed
+and found in the same stanza.
+
+_III a._ The Regular Rhyming Doublet. It is the same as our common
+interwoven rhyme and is very common among Negro Rhymes. There is one
+peculiar Interwoven Rhyme found in our collection; it is "Watermelon
+Preferred." In it the second Rhyming Doublet is divided by a kind of
+parenthetic Rhythmic Solitaire.
+
+_III b._ The Inverted Rhyming Doublet. It is the same as our ordinary
+Close Rhyme.
+
+The writer had expected to find the Supplemented Rhyming Doublet among
+Negro Rhymes but peculiarly enough it does not seem to exist.
+
+_IV a._ The Regular Rhymed Cluster. It consists of three consecutive
+lines in the same stanza which rhyme. An example is found in "Bridle Up
+a Rat," one of whose stanzas we have already quoted. It is represented
+by the lettering
+
+  (a
+  (a
+  (a
+
+_IV. b._ The Divided Rhymed Cluster. It includes ordinary Interrupted
+Rhyme--with the lettering
+
+  (a  An example is found in the Ebo or
+  (a  Guinea Rhyme "Tree Frogs."
+  (b
+  (a
+
+But in Negro Folk Rhymes two lines may divide the Rhymed Cluster
+instead of one. An example of this is found in "Animal Fair," whose
+rhyming may be represented by the lettering
+
+  (a
+  (a
+  (b
+  (b
+  (a
+
+_IV c._ The Supplemented Rhymed Clusters. They are well represented in
+Negro Rhymes. Some have a single supplement as in "Negroes Never Die,"
+whose rhyming is lettered
+
+  (a
+  (a
+  (a-x
+
+Some have double supplements as in "Frog Went a-Courting" whose rhyming
+is lettered
+
+  (a-x
+  (a
+  (a-x
+
+Now Negroes did not retain, permanently, meaningless words in their
+Rhymes. The Rhymes themselves were "calls" and had meaning. The
+"sponses," such as "Holly Dink," "Jing-Jang," "Oh, fare you well,"
+"'Tain't gwineter rain no more," etc., that had no meaning, died year
+after year and new "sponses" and songs came into existence.
+
+Let us see what these permanently retained seemingly senseless
+Supplements mean.
+
+In "Frog Went a-Courting" we see the Supplement "uh-huh! uh-huh!" It is
+placed in the midst to keep vividly before the mind of the listener the
+ardent singing of the frog in Spring during his courtship season, while
+we hear a recounting of his adventures. It is to this Simple Rhyme what
+stage scenery is to the Shakespearian play or the Wagnerian opera. It
+seems to me (however crude his verse) that the Negro has here suggested
+something new to the field of poetry. He suggests that, while one
+recounts a story or what not, he could to advantage use words at the
+same time having no bearing on the story to depict the surroundings or
+settings of the production. The gifted Negro poet, Paul Laurence Dunbar,
+has used the supplement in this way in one of his poems. The poem is
+called "A Negro Love Song." The little sentence, "Jump back, Honey, jump
+back," is thrown in, in the midst and at the end of each stanza.
+Explaining it, the following is written by a friend, at the heading of
+this poem:
+
+"During the World's Fair he (Mr. Dunbar) served for a short time as a
+hotel waiter. When the Negroes were not busy they had a custom of
+congregating and talking about their sweethearts. Then a man with a tray
+would come along and, as the dining-room was frequently crowded, he
+would say when in need of passing room, 'Jump back, Honey, jump back.'
+Out of the commonplace confidences, he wove the musical little
+composition--'A Negro Love Song.'"
+
+Now, this line, "Jump back, Honey, jump back," was used by Mr. Dunbar to
+recall and picture before the mind the scurrying hotel waiter as he
+bragged to his fellows of his sweetheart and told his tales of
+adventure. It is the "stage scenery" method used by the slave Negro
+verse maker. Mr. Dunbar uses this style also in "A Lullaby,"
+"Discovered," "Lil' Gal" and "A Plea." Whether he used it knowingly in
+all cases, or whether he instinctively sang in the measured strains of
+his benighted ancestors, I do not know.
+
+The Supplement was used in another way in Negro Folk Dance Rhymes. I
+have already explained how the Rhymes were used in a general way in the
+Dance. Let us glance at the Dance Rhyme "Juba" with its Supplement,
+"Juba! Juba!" to illustrate this special use of the Supplement. "Juba"
+itself was a kind of dance step. Now let us imagine two dancers in a
+circle of men to be dancing while the following lines are being patted
+and repeated:
+
+    "Juba Circle, raise de latch,
+    Juba dance dat Long Dog Scratch, Juba! Juba!"
+
+While this was being patted and repeated, the dancers within the circle
+described a circle with raised foot and ended doing a dance step called
+"Dog Scratch." Then when the Supplement "Juba! Juba!" was said the whole
+circle of men joined in the dance step "Juba" for a few moments. Then
+the next stanza would be repeated and patted with the same general order
+of procedure.
+
+The Supplement, then, in the Dance Rhyme was used as the signal for all
+to join in the dance for a while at intervals after they had witnessed
+the finished foot movements of their most skilled dancers.
+
+The Supplement was used in a third way in Negro Rhymes. This is
+illustrated by the Rhyme, "Anchor Line" where the Supplement is "Dinah."
+This was a Play Song and was commonly used as such, but the Negro boy
+often sang such a song to his sweetheart, the Negro father to his child,
+etc. When such songs were sung on other occasions than the Play, the
+name of the person to whom it was being sung was often substituted for
+the name Dinah. Thus it would be sung
+
+    "I'se gwine out on de Anchor Line--Mary," etc.
+
+The Supplement then seems to have been used in some cases to broaden the
+scope of direct application of the Rhyme.
+
+The last use of the Supplement to be mentioned is closely related in its
+nature to the "stage scenery" use already mentioned. This kind of
+Supplement is used to depict the mental condition or attitude of an
+individual passing through the experiences being related. Good examples
+are found in "My First and My Second Wife" where we have the
+Supplements, "Now wusn't I sorrowful in mind," etc.; and in "Stinky
+Slave Owners" with its Supplements "Eh-Eh!" "Sho-sho!" etc.
+
+The Negro Rhymes here and there also have some kind of little
+introductory word or line to each stanza. I consider this also something
+peculiar to Negro Rhyme. I have named these little introductory words or
+sentences the "Verse Crown." They are receivers into which verses are
+set and serve as dividing lines in the production. As the reader knows,
+the portion of the ring which receives the gems and sets them into a
+harmonious whole is called the "Crown." Having borrowed the terms
+Solitaire, Doublet, etc., for the verses, the name for these
+introductory words and lines automatically became "Verse Crown."
+
+Just as I have figuratively termed the Supplements in one place "stage
+scenery," so I may with equal propriety term the "Verse Crown" the
+"rise" or the "fall" of the stage curtain. They separate the little Acts
+of the Rhymes into scenes. As an example read the comic little Rhyme "I
+Walked the Roads." The word "Well" to the first stanza marks the raising
+of the curtain and we see the ardent Negro boy lover nonsensically
+prattling to the one of his fancy about everything in creation until he
+is so tired that he can scarcely stand erect. The curtain drops and
+rises with the word "Den." In this, the second scene, he finally gets
+around to the point where he makes all manner of awkward protestations
+of love. The hearer of the Rhyme is left laughing, with a sort of
+satisfactory feeling that possibly he succeeded in his suit and possibly
+he didn't. Among the many examples of Rhymes where verse crowns serve as
+curtains to divide the Acts into scenes may be mentioned "I Wish I Was
+an Apple," "Rejected by Eliza Jane," "Courtship," "Plaster," "The Newly
+Weds," and "Four Runaway Negroes."
+
+Though the stanzas in Negro Rhymes commonly have just one kind of
+rhyming, in some cases as many as three of the systems of rhyming are
+found in one stanza. I venture to suggest the calling of those with one
+system "Simple Rhymed Stanzas;" those with two, "Complex Rhymed
+Stanzas;" those with more than two "Complicated Complex Rhymed Stanzas."
+
+I next call attention to the seeming parodies found occasionally among
+Negro Rhymes. The words of most Negro parodies are such that they are
+not fit for print. We have recorded three: "He Paid Me Seven," Parody on
+"Now I Lay Me Down to Sleep," and Parody on "Reign, Master Jesus,
+Reign." We can best explain the nature of the Negro Parody by taking
+that beautiful and touching well-known Jubilee song, "Steal Away to
+Jesus" and briefly recounting the story of its origin. Its history is
+well known. We hope the reader will not be disappointed when we say that
+this song is a parody in the sense in which Negroes composed and used
+parodies.
+
+The words around which the whole song ranges itself are "Steal away to
+Jesus, I hain't got long to stay here." Now the slave Negroes on the far
+away plantations of the South occasionally met in the dead of night in
+some secluded lonely spot for a religious meeting even when they had
+been forbidden to do so by their masters. So they made up this song,
+"Steal away to Jesus, I hain't got long to stay here." Late in the
+afternoons when the slaves on any plantation sang it, it served as a
+notice to slaves on other plantations that a secret religious meeting
+was to be held that night at the place formerly mutually agreed upon for
+meetings.
+
+Now here is where the parody comes in under the Negro standard: To the
+slave master the words meant that his good, obedient slaves were only
+studying how to be good and to get along peaceably, because they
+considered, after all, that their time upon earth was short and not of
+much consequence; but to the listening Negro it meant both a
+notification of a meeting and slaves disobedient enough to go where they
+wanted to go. To the listening master it meant that the Negro was
+thinking of what a short time it would be before he would die and leave
+the earth, but to the listening slaves it meant that he was thinking of
+how short a time it would be before he left the cotton field for a
+pleasant religious meeting. All these meanings were truly literally
+present but the meaning apparent depended upon the viewpoint of the
+listener. It was composed thus, so that if the master suspected the
+viewpoint of the slave hearers, the other viewpoint, intended for him,
+might be held out in strong relief.
+
+Now let us consider the parodies recorded in our Collection. The Parody
+on the beautiful little child prayer, "Now I lay me down to sleep" is
+but the bitter protest from the heart of the woman who, after putting
+the little white children piously repeating this child prayer, "Now I
+lay me down to sleep," in their immaculate beds, herself retired to a
+vermin infested cabin with no time left for cleaning it. It was a tirade
+against the oppressor but the comic, good-natured "It means nothing" was
+there to be held up to those calling the one repeating it to task. The
+parody on "Reign, Master Jesus, Reign!" when heard by the Master meant
+only a good natured jocular appeal to him for plenty of meat and bread,
+but with the Negro it was a scathing indictment of a Christian earthly
+master who muzzled those who produced the food. "He Paid Me Seven" is a
+mock at the white man for failing to practice his own religion but the
+clown mask is there to be held up for safety to any who may see the
+_real_ side and take offense.
+
+Slave parodies, then, are little Rhymes capable of two distinct
+interpretations, both of which are true. They were so composed that if a
+slave were accused through one interpretation, he could and would
+truthfully point out the other meaning to the accuser and thus escape
+serious trouble.
+
+Under all the classes of Negro Rhymes, with the exception of the one
+Marriage Ceremony Rhyme, there were those which were sung and played on
+instruments. Since instrumental music called into existence some of the
+very best among Negro Rhymes it seems as if a little ought to be said
+concerning the Negro's instruments. Banjos and fiddles (violins) were
+owned only limitedly by antebellum Negroes. Those who owned them
+mastered them to such a degree that the memory of their skill will long
+linger. These instruments are familiar and need no discussion.
+
+Probably the Negro's most primitive instrument, which he could call his
+very own, was "Quills." It is mentioned in the story, "Brother Fox,
+Brother Rabbit, and King Deer's Daughter" which I have already quoted at
+some length. If the reader will notice in this story he will see, after
+the singing of the first stanza by the rabbit and fox, a description in
+these words, "Den de quills and de tr'angle, dey come in, an' den Br'er
+Rabbit pursue on wid de call." Here we have described in the Negro's own
+way the long form of instrumental music composition which we have
+hitherto discussed, and "quills" and "tr'angles" are given as the
+instruments.
+
+In my early childhood I saw many sets of "Quills." They were short reed
+pipes, closed at one end, made from cane found in our Southern
+canebrakes. The reed pipes were made closed at one end by being so cut
+that the bottom of each was a node of the cane. These pipes were
+"whittled" square with a jack knife and were then wedged into a wooden
+frame, and the player blew them with his mouth. The "quills," or reed
+pipes, were cut of such graduated lengths that they constituted the
+Negro's peculiar music Scale. The music intervals though approximating
+those of the Caucasian scale were not the same. At times, when in a
+reminiscent humor, I hum to myself some little songs of my childhood. On
+occasions, afterwards, I have "picked out" some of the same tunes on the
+piano. When I have done this I have always felt like giving its
+production on the piano the same greeting that I gave a friend who had
+once worn a full beard but had shaved. My greeting was "Hello, friend A;
+I came near not knowing you."
+
+"Quills" were made in two sets. They were known as a "Little Set of
+Quills" and a "Big Set of Quills." There were five reeds in the Little
+Set but I do not know how many there were in a Big Set. I think there
+were more than twice as many as in a Little Set. I have inserted a cut
+of a Little Set of "Quills." (Figure I.) The fact that I was in the
+class of "The Little Boy Who Couldn't Count Seven" when I saw and
+handled quills makes it necessary to explain how it comes that I am sure
+of the number of "Quills" in a "Little Set." I recall the intricate tune
+that could be played only by the performer's putting in the lowest
+pitched note with his voice. I am herewith presenting that tune, and
+"blocking out" the voice note there are only five notes left, thus I
+know there were five "Quills" in the set. I thought a tune played on a
+"Big Set" might be of interest and so I am giving one of those also. If
+there be those who would laugh at the crudity of "Quills" it might not
+be amiss to remember in justice to the inventors that "Quills"
+constitute a pipe organ in its most rudimentary form.
+
+[Illustration: Figure I A LITTLE SET OF QUILLS]
+
+TUNE PLAYED ON A LITTLE SET OF QUILLS
+
+[music]
+
+TUNE PLAYED ON A BIG SET OF QUILLS
+
+[music]
+
+The "tr'angle" or triangle mentioned as the other primitive instrument
+used by the rabbit and fox in serenading King Deer's family was only the
+U-shaped iron clives which with its pin was used for hitching horses to
+a plow. The antebellum Negro often suspended this U-shaped clives by a
+string and beat it with its pin along with the playing on "Quills" much
+after the order that a drum is beaten. These crude instruments produced
+music not of unpleasant strain and inspired the production of some of
+the best Negro Rhymes.
+
+I would next consider for a little the origin of the subject matter
+found in Negro Rhymes. When the Negro sings "Master Is Six Feet One Way"
+or "The Alabama Way" there is no question where the subject matter came
+from. But when he sings of animals, calling them all "Brother" or
+"Sister," and "Bought Me a Wife," etc., the origin of the conception and
+subject matter is not so clear. I now come to the question: From whence
+came such subject matter?
+
+First of all, Mr. Joel Chandler Harris, in his introduction to "Nights
+with Uncle Remus," has shown that the Negro stories of our country have
+counterparts in the Kaffir Tales of Africa. He therefore leaves strong
+grounds for inference that the American Negroes probably brought the dim
+outlines of their Br'er Rabbit stories along with them when they came
+from Africa. I have already pointed out that some of the Folk Rhymes
+belong to these Br'er Rabbit stories. Since the origin of the subject
+matter of one is the origin of the subject matter of the other, it
+follows that we are reasonably sure of the origin of such Folk Rhymes
+because of the "counterpart" data presented by Mr. Harris. But I have
+been fortunate enough recently to secure direct evidence that one of the
+American Negro stories recorded by Mr. Harris came from Africa.
+
+While collecting our Rhymes, I asked Dr. C. C. Fuller of the South
+African Mission, at Chikore, Melsetter, Rhodesia, Africa, for an African
+Rhyme in Chindau. I might add parenthetically: I have never seen
+pictures of a cruder or more primitive people than these people who
+speak Chindau. He obtained and sent me the Rhyme "The Turkey Buzzard"
+found in our Foreign Section. It was given to him by the Reverend J. E.
+Hatch of the South African General Mission. Along with this rhyme came
+the following in his kind and obliging letter: "We thought the story of
+how the Crocodile got its scaly skin might be of interest also":
+
+"Why the Crocodile Has a Hard, Scaly Skin."
+
+"Long ago the Crocodile had a soft skin like that of the other animals.
+He used to go far from the rivers and catch animals and children and by
+so doing annoyed the people very much. So one day when he was far away
+from water, they surrounded him and set the grass on fire on every side,
+so that he could not escape to the river without passing through the
+fire. The fire overtook him and scorched and seared his back, so that
+from that day his skin has been hard and scaly, and he no longer goes
+far from the rivers."
+
+This is about as literal an outline of the American Negro story "Why the
+Alligator's Back is Rough" as one could have. The slight difference is
+that the direct African version mixes people in with the plot. This
+along with Mr. Harris's evidences practically establishes the fact that
+the Negro animal story outlines came with the Negroes themselves from
+Africa and would also render it practically certain that many animal
+rhymes came in the same way since these Rhymes in many cases accompany
+the stories.
+
+Then there are Rhymes, not animal Rhymes, which seem to carry plainly in
+their thought content a probable African origin. In the Rhyme, "Bought
+Me a Wife," there is not only the mentioning of buying a wife, but there
+is the setting forth of feeding her along with guineas, chickens, etc.,
+out under a tree. Such a conception does not fit in with American slave
+life but does fit into widely prevailing conditions found in Africa.
+
+Read the last stanza of "Ration Day," where the slave sings of going
+after death to a land where there are trees that bear fritters and where
+there are ponds of honey. Surely there is nothing in America to suggest
+such thoughts, but such thoughts might have come from Africa where
+natives gather their fruit from the bread tree and dip it into honey
+gathered from the forests.
+
+Read "When My Wife Dies." This is a Dance Rhyme Song. When the Rhymer
+chants in seemingly light vein in our hearing that he will simply get
+another wife when his wife dies, we turn away our faces in disgust, but
+we turn back almost amazed when he announces in the immediately
+succeeding lines that his heart will sorrow when she is gone because
+none better has been created among women. The dance goes on and we
+almost see grim Death himself smile as the Rhymer closes his Dance Song
+with directions not to bury him deep, and to put bread in his hand and
+molasses at his feet that he may eat on the way to the "Promised Land."
+
+If you had asked a Negro boy in the days gone by what this Dance Rhyme
+Song meant, he would have told you that he didn't know, that it was
+simply an old song he had picked up from somewhere. Thus he would go
+right along thoughtlessly singing or repeating and passing the Rhyme to
+others. The dancing over the dead and the song which accompanied it
+certainly had no place in American life. But do you ask where there was
+such a place? Get Dr. William H. Sheppard's "Presbyterian Pioneers in
+Congo" and read on page 136 the author's description of the behavior of
+the Africans in Lukenga's Land on the day following the death of one of
+their fellow tribesmen. It reads in part as follows: "The next day
+friends from neighboring villages joined with these and in their best
+clothes danced all day. These dances are to cheer up the bereaved family
+and to run away evil spirits." Dr. Sheppard also tells us that in one of
+the tribes in Africa where he labored, a kind of funnel was pushed down
+into the grave and down this funnel food was dropped for the deceased to
+feed upon. I have heard from other missionaries to other parts of Africa
+similar accounts. The minute you suppose the Rhyme "When My Wife Dies"
+to have had its origin in Africa, the whole thought content is
+explained. Of course the stanza concerning the pickling of the bones in
+alcohol is probably of American origin but I doubt not that the thought
+of the "key verses" came from Africa.
+
+These Rhymes whose thought content I have just discussed I consider only
+illustrative of the many Rhymes whose thought drift came from Africa.
+
+Many of the Folk Rhymes fall under the heading commonly denominated
+"Nature Rhymes." By actual count more than a hundred and fifty recorded
+by the writer have something in their stanzas concerning some animal. I
+do not think the makers of these Rhymes were makers of Nature Rhymes in
+the ordinary sense of the term. It would really be more to the point to
+call them "Animal Rhymes" instead of "Nature Rhymes." With the exception
+of about a half dozen Rhymes which mention some kind of tree or plant,
+all the other Rhymes with Nature allusions pertain to animals. The Uncle
+Remus stories recorded by Joel Chandler Harris are practically all
+animal stories. I have said in my foregoing discussion that the Negro
+communed with Nature and she gave him Rhymes for amusement. This is
+true, but when we say "communed" we simply express a vague intangible
+something the existence of which lives somewhere in a kind of mental
+fiction.
+
+Though I was brought up with the Rhymes I make no pretensions that I
+really know why so many of them were made concerning the animal world. I
+have heard no Negro tradition on this point. I have thought much on it
+and I now beg the reader to walk with me over the peculiar paths along
+which my mind has swept in its search for the truth of this mystery of
+Animal Rhyme.
+
+Before the great American Civil War the Negro slave preachers could
+not, as a class, read and they were taught their Bible texts by white
+men, commonly their owners. The texts taught them embraced most of the
+central truths of our Bible. The subjects upon which the antebellum
+Negro preached, however, were comparatively few. Of course a very few
+antebellum Negro preachers could read. In case of these individuals
+their texts and subjects were scarcely limited by the "lids" of the
+Bible. I heard scores of these men preach in my childhood days.
+
+The following subjects embrace about all those known to the average of
+these slave preachers. 1. Joshua. 2. Samson. 3. The Ark. 4. Jacob. 5.
+Pharaoh and Moses. 6. Daniel. 7. Ezekiel--vision of the valley of dry
+bones. 8. Judgment Day. 9. Paul and Silas in jail. 10. Peter. 11. John's
+vision on the Isle of Patmos. 12. Jesus Christ--his love and his
+miracles. 13. "Servants, obey your Masters."
+
+Now it is strange enough that the ignorant slave, while adopting his
+Master's religious topics, refused to adopt his hymns and proceeded to
+make his own songs and to cluster all these songs in thought around the
+Bible subjects with which he was acquainted. If the reader will get
+nearly any copy of Jubilee Songs he will find that the larger number
+group themselves about Jesus Christ and the others cluster about Moses,
+Daniel, Judgment Day, etc., subjects partially known and handled by the
+preachers in their sermons. There is just one exception. There is no
+Jubilee Song on "Servants, obey your Masters." We shall leave for the
+"feeble" imagination of the reader the reason why. The Negroes
+practically left out of their Jubilee Songs, Jeremiah, Job, Abraham,
+Isaac, Solomon, Samuel, Ezra, Mark, Luke, John, James, The Psalms, The
+Proverbs, etc., simply because these subjects did not fall among those
+taught them as preaching subjects.
+
+Now let us consider for a while the Negro's religion in Africa. Turning
+to Bettanny's "The World's Religions" we learn the following facts about
+aboriginal African worship.
+
+The Bushmen worshiped a Caddis worm and an antelope (a species of deer).
+The Damaras believed that they and all living creatures descended from a
+kind of tree and they worshiped that tree. The Mulungu worshiped
+alligators and lion-shaped idols. The Fantis considered snakes and many
+other animals messengers of spirits. The Dahomans worshiped snakes, a
+silk tree, a poison tree and a kind of ocean god whom they called Hu.
+
+Now turning our attention to Negro Folk Rhymes we find them clustering
+around the animals of aboriginal African Folk worship. The Negro stories
+recorded by Mr. Harris center around these animals also. In the Folk
+Rhyme "Walk Tom Wilson" our hero steps on an alligator. In "The Ark" the
+lion almost breaks out of his enclosure of palings. In one rhyme the
+snake is described as descended from the Devil and then the Devil
+figures prominently in many Rhymes. Then we have "Green Oak Tree
+Rocky-o" answering to the tree worship.
+
+I have placed in our collection of Rhymes a small foreign section
+including African Rhymes. I have recorded precious few but those few are
+enough to show two things. (1) That the Negro of savage Africa has the
+rhyme-making habit and probably has always had it, and thus the American
+Negro brought this habit with him to America. (2) That a small handful
+from darkest Africa contains stanzas on the owl, the frog, and the
+turkey buzzard just like the American rhymes.
+
+Knowing that the Negro made rhymes in Africa, and knowing that he
+centered his Jubilee Song words around his American Christian religion,
+is it not reasonable to suppose that he centered his secular or African
+Rhymes around his African religion? He must have done so unless he
+changed all his rhyme-making habits after coming to America, for he
+certainly clustered his American verse largely around his religion.
+Assuming this to be true the large amount of animal lore in Negro rhyme
+and story is at once explained.
+
+Possibly the greatest hindrance to one's coming to this conclusion is
+the fact that the Rabbit and some other animals found in Negro rhyme and
+story do not appear in the records among those worshiped by aboriginal
+Africans. The known record of the Africans' early religion covers only a
+very few pages. Christians have not been willing to spend any time to
+speak of in investigating the religions of the primitive and the lowly.
+Thus if these animals were widely worshiped it would not be strange if
+we should never have heard of it. Let us consider what is known,
+however.
+
+Taking up the matter of the rabbit Mr. John McBride, Jr., had a very
+fine and lengthy discussion on "Br'er Rabbit in the Folk Tales of the
+Negro and other Races" in _The Sewanee Review_, April, 1911. On page 201
+of that journal's issue we find these words: "Among the Hottentots, for
+example, there is a story in which the hare appears in the moon and of
+which several versions are extant. The story goes that the moon sent the
+hare to the earth to inform men that, as she died away and rose again,
+so should all men die and again come to life," etc. I drop the story
+here because so much of it suffices my purpose. It brings out the fact
+that the African here had probably truly considered the Rabbit as a
+messenger of the moon. Now the fact that the Hottentots were thus
+talking in lore of receiving messages concerning immortality from the
+moon means there must have been at least a time in their history when
+they considered the Moon a kind of super-being, a kind of god.
+
+I quote again from Dr. Sheppard's "Presbyterian Pioneers in Congo," page
+113. "King Lukenga offers up a sacrifice of a goat or lamb on every new
+moon. The blood is sprinkled on a large idol in his own fetich house, in
+the presence of all his counselors. This sacrifice is for the
+healthfulness of all the King's country, for the crops," etc.
+
+I think after considering the foregoing one will see that there are
+those of Africa who connect their worship with the moon. We learn also
+that there are those who claim the rabbit to be the moon's messenger.
+From this, if we should accept the theory for Animal Rhymes advanced, we
+would easily see why the rabbit as a messenger of a god or gods would
+figure so largely in Rhyme and in story. We also would easily see how
+and why as a messenger of a god he would become "Brother Rabbit." If one
+will read the little Rhyme "Jaybird" he will notice that the rhymer
+places the intelligence of the rabbit above his own. Our theory accounts
+for this.
+
+I would next consider the frog, but I imagine I hear the reader saying:
+"That is not a beginning. How about your bear, terrapin, wolf, squirrel,
+etc.?"
+
+Seeing that I am faced by so large an array of animals, I beg the reader
+to walk with me through just one more little path of thought and with
+his consent I shall leave the matter there.
+
+We see, in two of our African Rhymes, lines on a buzzard and an owl; yet
+these African natives do not worship these birds. The American Negro
+children of my childhood repeated Folk Rhymes concerning the rabbit, the
+fox, etc., without any thought whatever of worshiping them. These
+American children had received the whole through dim traditional rhymes
+and stories and engaged in passing them on to others without any special
+thought. The uncivilized and the unlettered hand down everything by word
+of mouth. Religion, trades, superstition, medicine, sense, and nonsense
+all flow in the same stream and from this stream all is drunk down
+without question. If therefore the Negro's rhyme-clustering habit in
+America was the same as it had ever been and the centering of rhymes
+about animals is due to a former worship of them in Africa, the verses
+would include not only the animals worshiped in modern Africa but in
+ancient Africa. The verses would take in animals included in any
+accepted African religion antedating the comparatively recent religions
+found there.
+
+The Bakuba tribe have a tradition of their origin. Quoting from Dr.
+Sheppard's book again, page 114, we have the following: "From all the
+information I can gather, they (the Bakuba) migrated from the far North,
+crossed rivers and settled on the high table land." Here is one
+tradition, standing as a guide post, with its hand pointing toward
+Egypt. A one fact premise practically never forms a safe basis for a
+conclusion, but when we couple this tradition with the fact that, so far
+as we know, men originated in Southwest Asia and therefore probably came
+into Africa by way of the Isthmus of Suez, I think the case of the
+Bakuba hand pointing toward a near Egyptian residence a strong one. Now
+turn to your Encyclopedia Britannica, Vol. X, ninth edition, with
+American revisions and additions, to the article on "Glass," page 647.
+Near the bottom of the second column on that page we read: "The
+Phoenicians probably derived this knowledge of the art (of glass making)
+from Egypt. * * * It seems probable that the earliest products of the
+industry of Phoenicia in the art of glass making are the colored beads
+which have been found in almost all parts of Europe, in India, and other
+parts of Asia, and in _Africa_. The "aggry" beads so much valued by the
+_Ashantees and other natives_ of that part of Africa which lies near the
+Gold Coast, have _probably_ the same origin. * * * Their wide dispersion
+may be referred with much probability to their having been objects of
+barter between the Phoenician merchants and the barbarous inhabitants of
+the various countries with which they traded." Here are evidences, then,
+that the African in his prehistoric days traded with somebody who
+bartered in beads of Phoenician or Egyptian make. I say Egyptian or
+Phoenician because if the Phoenicians got this art from the Egyptians I
+think it would be very difficult for those who lived thousands of years
+afterward to be sure in which country a specific bead was made, the art
+as practiced by one country being a kind of copy of the art as practiced
+in the other country. With the historic record that the Phoenicians were
+the great traders of the Ancient World our writers attributed the
+carrying of the beads into Africa, among the natives, to the
+Phoenicians. Without questioning these time-honored conclusions, we do
+know that Egyptian caravans still make journeys into the interior of
+Africa for the purpose of trade. Shall we think this trading practice on
+the part of Egypt in Africa one of recent origin or probably one that
+runs back through the centuries? I see no reason for believing this
+trading custom to be other than an ancient one. If the ancient Egyptians
+traded with the surrounding Africans and these Africans gradually
+migrated South, as is stated in the Bakuba tradition, the whole matter
+of how all kinds of animals got mixed into Negro Folk Rhymes by custom
+becomes clear. It also will explain how animal worship got scattered
+throughout Africa, for it is the unbroken history of the world that
+traders of a race superior in attainment always somehow manage to carry
+along their religion to the race inferior in attainment. The religious
+emissaries generally follow along in the wake of the traders. If we make
+the assumption, on the foregoing grounds, that the very ancient African
+Negro got in touch with the religion of Ancient Egypt, then the
+appearance of the frog, birds, etc., in Negro Rhyme is explained, for if
+we read the lists of animal gods of Ancient Egypt and the animal states
+through which spirits were supposed to pass, we have no trouble finding
+the list of animals extolled in Negro rhyme and story.
+
+If Negro Rhyme has always centered about Negro religion, then when the
+Negro was brought to America and began changing his religion, he should
+have had some songs or rhymes on the dividing line between the old and
+the new. In other words, there ought to be connecting links between
+"secular" Folk Rhymes and Jubilee Songs, songs that by nature partake of
+both types. This must happen in order to be in accord with the law of
+the presence of connecting links where evolution produces a new type
+from an old one. By using the procedure under Mendel's law of mating
+like descendants from a cross between two and by eliminating those who
+do not reproduce constant to the type which we are trying to produce, we
+can produce a new and constant type in the third succeeding generation
+of descendants.
+
+Now the Negro slave turned quickly in America from heathenism to
+Christianity. This was accomplished through white Christians correcting
+and eliminating all thoughts and productions which hovered on the border
+line between heathen ideals and Christianity. They used the Mendelian
+procedure of eliminating all crosses that did not give a product with
+Christian characteristics and thus necessarily eliminated Rhymes or
+songs of the connecting link type. They did a good thorough job but the
+writer believes he sees two connecting links that escaped their
+sensitive ears and sharp eyes. They are Jubilee songs; one is "Keep
+inching along like a poor inch worm, Jesus will come by-and-by," the
+other is "Go chain the lion down before the Heaven doors close."
+
+The reader will recall that I have already shown that the worm and the
+lion were connected with native African worship. Of course we all know
+quite well that a "Caddis worm" is not an "Inch worm," but for a man
+trying to turn from the old to the new, from idolatry to Christianity, a
+closer relation than this might not be very comfortable neutral ground.
+
+The following Folk Rhymes found in our collection might also pass for
+connecting links: "Jawbone," "Outrunning the Devil," "How to Get to
+Glory Land," "The Ark," "Destinies of Good and Bad Children," "How to
+Keep or Kill the Devil," "Ration Day," and "When My Wife Dies." The
+superstitions of the Negro Rhymes are possibly only fossils left in one
+way or another by ancient native African worship.
+
+In a few Rhymes the vice of stealing is either laughed at, or
+apparently laughed at. Such Rhymes carry on their face a strictly
+American slave origin. An example is found in "Christmas Turkey." If one
+asks how I know its origin to be American, the answer is that the native
+African had no such thing as Christmas and turkeys are indigenous to
+America. In explanation of the origin of these "stealing" Rhymes I would
+say that it was never the Negro slave's viewpoint that his hard-earned
+productions righteously belonged to another. His whole viewpoint in all
+such cases, where he sang in this kind of verse, is well summed up in
+the last two lines of this little Rhyme itself:
+
+    "I tuck mysef to my tucky roos',
+    An' I brung _my_ tucky home."
+
+To the Negro it was his turkey. This was the Negro slave view and
+accounts for the origin and evolution of such verse. We leave to others
+a fair discussion of the ethics and a righteous conclusion; only asking
+them in fairness to conduct the discussion in the light of slave
+conditions and slave surroundings.
+
+In a few of the Folk Rhymes one stanza will be found to be longer than
+any of the others. Now as to the origin of this, in the case of those
+sung whose tunes I happen to know, the long stanza was used as a kind
+of chorus, while the other stanzas were used as song "verses." I
+therefore think this is probably true in all cases. The reader will note
+that the long stanza is written first in many cases. This is because the
+Negro habitually begins his song with the Chorus, which is just the
+opposite to the custom of the Caucasian who begins his ordinary songs
+with the verse. This appears then to be the possible genesis of stanzas
+of unequal length.
+
+I have written this little treatise on the use, origin, and evolution of
+the Negro Rhyme with much hesitation. I finally decided to do it only
+because I thought a truthful statement of fact concerning Negro Folk
+Rhymes might prove a help to those who are expert investigators in the
+field of literature and who are in search of the origin of all Folk
+literature and finally of all literature. The Negro being the last to
+come to the bright light of civilization has given or probably will give
+the last crop of Folk Rhymes. Human processes being largely the same, I
+hope that my little personal knowledge of the Negro Rhymes may help
+others in the other larger literary fields.
+
+I am hoping that it may help and I am penning the last strokes to record
+my sincere desire that it may in no way hinder.
+
+
+
+
+GENERAL INDEX
+
+
+PART I
+
+                                                    PAGE
+
+  A. B. C.,                                          154
+
+  Alabama Way, The,                                  164
+
+  Anchor Line,                                        87
+
+  Animal Attire,                                     158
+
+  Animal Fair,                                       159
+
+  Animal Persecutors,                                205
+
+  Antebellum Courtship Inquiry,                      135
+
+  Antebellum Marriage Proposal,                      137
+
+  Are You Careful,                                   203
+
+  Ark, The,                                           44
+
+  As I Went to Shiloh,                                13
+
+  Aspiration,                                        159
+
+  Aunt Dinah Drunk,                                   53
+
+  Aunt Jemima,                                       107
+
+  Awful Harbingers,                                  149
+
+
+  Baa! Baa! Black Sheep,                              27
+
+  Baby Wants Cherries,                               181
+
+  Bad Features,                                      100
+
+  Banjo Picking, The,                                 21
+
+  Bat! Bat!                                          202
+
+  Bedbug,                                             96
+
+  Bitter Lovers' Quarrel, A,                         127
+
+  Black-eyed Peas For Luck,                          200
+
+  Blessings,                                         204
+
+  Blindfold Play Chant,                               73
+
+  Bob-White's Song,                                  155
+
+  Bought Me a Wife,                                  145
+
+  Brag and Boast,                                    213
+
+  Bridle up a Rat,                                   157
+
+  Bring on your Hot Corn,                             29
+
+  Brother Ben and Sister Sal,                         46
+
+  Buck and Berry,                                    172
+
+  Buck-eyed Rabbit! Whoopee!,                        175
+
+  Budget, A,                                          79
+
+  Bull Frog Put on the Soldier Clothes,               20
+
+  Butterfly,                                         182
+
+
+  Captain Coon,                                      176
+
+  Captain Dime,                                        5
+
+  Care in Bread-making,                              112
+
+  Caught by the Witch Play,                           74
+
+  Chicken in the Bread Tray,                           7
+
+  Chicken Pie,                                        69
+
+  Children's Seating Rhyme,                          179
+
+  Christmas Turkey,                                   98
+
+  Chuck Will's Widow Song,                           156
+
+  Clandestine Letter, A,                             136
+
+  Coffee Grows on White Folks' Trees,                107
+
+  College Ox, The,                                   112
+
+  Cooking Dinner,                                    156
+
+  Cotton-eyed Joe,                                    32
+
+  Courting Boy, The,                                 141
+
+  Courtship,                                         138
+
+  Cow Needs a Tail in Fly-time, The,                  35
+
+  Crooked Nose Jane,                                  99
+
+  Crossing a Foot-Log,                               109
+
+  Crossing the River,                                  6
+
+
+  Day's Happiness, A,                                125
+
+  Deedle, Dumpling,                                  171
+
+  Destinies of Good and Bad Children,                200
+
+  Destitute Former Slave Owners,                      97
+
+  Devilish Pigs,                                      24
+
+  Did You Feed My Cow?                                78
+
+  Die in the Pig-Pen Fighting,                        39
+
+  Dinah's Dinner Horn,                                18
+
+  Do I Love You?                                     129
+
+  Does Money Talk?,                                  113
+
+  Don't Ask Me Questions,                             63
+
+  Don't Sing before Breakfast,                       186
+
+  Don't Tell All You Know,                           214
+
+  Doodle-Bug,                                        174
+
+  Down in the Lonesome Garden,                        89
+
+  Drinking Razor Soup,                               211
+
+
+  Elephant, The,                                     116
+
+  End of Ten Little Negroes, The,                    163
+
+
+  Fattening Frogs for Snakes,                         97
+
+  Fed From the Tree of Knowledge,                    212
+
+  Few Negroes by States, A,                          117
+
+  Fine Plaster, A,                                   124
+
+  Fishing Simon,                                     177
+
+  Flap-jacks,                                        196
+
+  Forty-four,                                         71
+
+  Four Runaway Negroes; Whence They Came,            205
+
+  Fox and Geese,                                      40
+
+  Fox and Geese Play,                                 73
+
+  Fox and Rabbit Drinking Propositions,              111
+
+  Frightened Away from a Chicken-Roost,               95
+
+  Frog in a Mill (Guinea or Ebo Rhyme),              167
+
+  Frog Went a-Courting,                              190
+
+  From Slavery,                                      162
+
+  Full Pocketbook, A,                                 99
+
+
+  Getting Ten Negro Boys Together,                   184
+
+  Go to Bed,                                         175
+
+  Going To Be Good Slaves,                           101
+
+  Good-by, Ring,                                     171
+
+  Good-by, Wife!,                                    148
+
+  Gooseberry Wine,                                    41
+
+  Goosie-Gander Play Rhyme,                           75
+
+  Grasshopper Sense,                                 169
+
+  Grasshopper Sitting on a Sweet Potato Vine,        173
+
+  Gray and Black Horses,                              45
+
+  Great Owl's Song, The,                             151
+
+  Green Oak Tree! Rocky-o!,                           81
+
+  Guinea Gall,                                       176
+
+
+  Half Way Doings,                                   120
+
+  Ham Beats all Meat,                                 67
+
+  Harvest Song,                                       57
+
+  Hated Blackbird and Crow, The,                     183
+
+  Hawk and Buzzard,                                   75
+
+  Hawk and Chickens,                                 185
+
+  Hawk and Chickens Play,                             74
+
+  He Is My Horse,                                     16
+
+  He Loves Sugar and Tea,                             84
+
+  He Paid Me Seven (Parody),                         122
+
+  He Will Get Mr. Coon,                               28
+
+  Hear-say,                                          114
+
+  Here Comes a Young Man Courting,                    85
+
+  Here I Stand,                                      153
+
+  Hoecake,                                            49
+
+  How to Get to Glory Land,                           96
+
+  How to Keep or Kill The Devil,                     104
+
+  How to Make it Rain,                               101
+
+  How to Plant and Cultivate Seeds,                  208
+
+  How to Please a Preacher,                          117
+
+  Hunting Camp, The,                                  43
+
+
+  I am not Going to Hobo Any More,                    70
+
+  I Love Somebody,                                    51
+
+  I Walked the Roads,                                139
+
+  I Went down the Road,                               50
+
+  I Wish I Was an Apple,                             133
+
+  I Would not Marry a Black Girl,                     56
+
+  I Would not Marry A Yellow Or A White Negro Girl,   63
+
+  I'd rather Be a Negro than a Poor White Man,        42
+
+  I'll Eat When I'm Hungry,                          114
+
+  I'll Get You, Rabbit!,                             116
+
+  I'll Wear Me a Cotton Dress,                       118
+
+  I'm a "Round-Town" Gentleman,                      108
+
+  If You Frown,                                      137
+
+  In '76,                                            178
+
+  In a Mulberry Tree,                                158
+
+  In a Rush,                                         183
+
+  Independent,                                       209
+
+  Indian Flea,                                        12
+
+  Invited to Take the Escort's Arm,                  135
+
+  It Is Hard to Love,                                132
+
+
+  Jack and Dinah Want Freedom,                       215
+
+  Jackson, Put that Kettle On!,                       17
+
+  Jawbone,                                            12
+
+  Jaybird,                                            14
+
+  Jaybird Died with the Whooping Cough,               36
+
+  Joe and Malinda Jane,                                4
+
+  John Henry,                                        105
+
+  Johnny Bigfoot,                                     93
+
+  Jonah's Band Party,                                  1
+
+  Juba,                                                9
+
+  Judge Buzzard,                                      16
+
+  Jump Jim Crow,                                      13
+
+
+  Kept Busy,                                         109
+
+  Kissing Song,                                       82
+
+  Kneel on This Carpet,                               82
+
+
+  Last of Jack, The,                                 149
+
+  Learn to Count,                                    207
+
+  "Let's Marry" Courtship,                           138
+
+  Likes and Dislikes,                                 76
+
+  Little Boy Who Couldn't Count Seven,               160
+
+  Little Dogs,                                       150
+
+  Little Negro Fly, The,                             199
+
+  Little Pickaninny, A,                              186
+
+  Little Red Hen,                                     37
+
+  Little Rooster, The,                                29
+
+  Little Sister, Won't You Marry Me?                  90
+
+  Little Sleeping Negroes,                           187
+
+  Looking for a Fight,                               118
+
+  Love Is Just a Thing of Fancy,                       2
+
+  Lovers' Good-night,                                129
+
+
+  Mamma's Darling,                                   188
+
+  Man of Words, A,                                   208
+
+  Master is Six Feet One Way,                         40
+
+  Master Killed a Big Bull,                          126
+
+  Master's "Stolen" Coat, The,                        62
+
+  Me and my Lover,                                   132
+
+  Miss Blodger,                                      199
+
+  Miss Slippy Sloppy,                                100
+
+  Miss Terrapin and Miss Toad,                       162
+
+  Molly Cottontail,                                    8
+
+  Mother Says I am Six Years Old,                    164
+
+  Mourning Slave Fiancees,                           129
+
+  Mud-Log Pond,                                      185
+
+  Mule's Kick, The,                                   98
+
+  Mule's Nature, The,                                108
+
+  My Baby,                                           180
+
+  My Dog, Cuff,                                      150
+
+  My Fiddle,                                          39
+
+  My First and my Second Wife,                       147
+
+  My Folks and your Folks,                           187
+
+  My Little Pig,                                     157
+
+  My Mule,                                            19
+
+  My Speckled Hen,                                   170
+
+  My Wonderful Travel,                                55
+
+  Mysterious Face Washing,                           174
+
+
+  Nashville Ladies, The,                             106
+
+  Negro and the Policeman, The,                       66
+
+  Negro Baker Man,                                   154
+
+  Negro Soldier's Civil War Chant,                   115
+
+  Negroes Never Die,                                  11
+
+  Nesting,                                           180
+
+  Newly Weds, The,                                   144
+
+  No Room to Poke Fun,                                99
+
+  Nobody Looking,                                     48
+
+
+  Off from Richmond,                                  15
+
+  Old Aunt Kate,                                     179
+
+  Old Black Gnats, The,                               80
+
+  Old Gray Mink,                                      33
+
+  Old Hen Cackled, The,                               50
+
+  Old Man Know-all,                                  211
+
+  Old Molly Hare,                                     22
+
+  Old Section Boss, The,                              64
+
+  Old Woman in the Hills, The,                        54
+
+  On Top of the Pot,                                  10
+
+  Opossum Hunt, An,                                   23
+
+  Origin of the Snake, The,                          165
+
+  Our Old Mule,                                      112
+
+  Outrunning the Devil,                              103
+
+
+  Page's Geese,                                      102
+
+  Parody--He Paid Me Seven,                          122
+
+  Parody on "Now I Lay Me Down to Sleep",            115
+
+  Parody on "Reign, Master Jesus! Reign!",           122
+
+  Paying Debts with Kicks,                           184
+
+  Peep Squirrel,                                      78
+
+  Periwinkle,                                        201
+
+  Pig Tail,                                          153
+
+  Plaster,                                            60
+
+  'Possum up the Gum Stump,                            3
+
+  Precious Things,                                    84
+
+  Presenting a Hat to Phoebe,                        140
+
+  Pretty Little Girl,                                172
+
+  Pretty Little Pink,                                127
+
+  Pretty Pair of Chickens, A,                        181
+
+  Pretty Polly Ann,                                  142
+
+  Promises of Freedom,                                25
+
+
+  Rabbit Hash,                                       203
+
+  Rabbit Soup,                                        33
+
+  Raccoon and Opossum Fight,                          31
+
+  Race-starter's Rhyme, A,                           180
+
+  Raise a "Rucus" To-night,                           90
+
+  Randsome Tantsome,                                 202
+
+  Rascal, The,                                       106
+
+  Ration Day,                                         38
+
+  Rattler,                                            46
+
+  Raw Head and Bloody Bones,                         174
+
+  Redhead Woodpecker,                                178
+
+  Rejected by Eliza Jane,                            134
+
+  Request to Sell, A,                                123
+
+  Roses Red,                                         128
+
+  Run, Nigger, Run!,                                  34
+
+
+  Sail Away, Ladies!,                                 20
+
+  Sallie,                                             87
+
+  Salt-rising Bread,                                  83
+
+  Sam Is a Clever Fellow,                            151
+
+  Satan,                                              93
+
+  Self-control,                                      213
+
+  Sex Laugh,                                         102
+
+  Shake the Persimmons Down,                          34
+
+  She Hugged Me and Kissed Me,                       131
+
+  Sheep and Goat,                                     17
+
+  Sheep Shell Corn,                                   59
+
+  Shoo! Shoo!,                                       196
+
+  Short Letter, A,                                   113
+
+  Sick Wife, A,                                       55
+
+  Simon Slick's Mule,                                 47
+
+  Slave Marriage Ceremony Supplement,                143
+
+  Snail's Reply, The,                                170
+
+  Song to the Runaway Slave,                          88
+
+  Sparking or Courting,                              136
+
+  Speak Softly,                                      214
+
+  Stand Back, Black Man,                              10
+
+  Stealing a Ride,                                   188
+
+  Stick-a-ma-stew,                                   155
+
+  Still Water Creek,                                   2
+
+  Still Water Runs Deep,                             214
+
+  Strange Brood, A,                                  166
+
+  Strange Family, A,                                 171
+
+  Strange Old Woman, A,                              178
+
+  Strong Hands,                                      167
+
+  Sugar in Coffee,                                    30
+
+  Sugar Loaf Tea,                                     81
+
+  Susan Jane,                                         77
+
+  Susie Girl,                                         76
+
+  Suze Ann,                                           68
+
+  Sweet Pinks and Roses,                              92
+
+
+  Tails,                                               5
+
+  Taking a Walk,                                     183
+
+  Teaching Table Manners,                            197
+
+  Temperance Rhyme,                                  209
+
+  That Hypocrite,                                    210
+
+  "They Steal" Gossip,                               110
+
+  This Sun is Hot,                                   108
+
+  Thrifty Slave, The,                                 94
+
+  To Win a Yellow Girl,                              102
+
+  Tongue, The,                                       212
+
+  Too Much Watermelon,                               182
+
+  Town Bird and the Country Bird, The,               166
+
+  Training the Boy,                                  201
+
+  Tree Frogs (Guinea or Ebo Rhyme),                  168
+
+  Turkey Funeral, A,                                 111
+
+  T-U-Turkey,                                          6
+
+  Turtle's Song, The,                                 30
+
+  Two Sick Negro Boys,                               173
+
+  Two Times One,                                     121
+
+
+  Uncle Jerry Fants,                                 109
+
+  Uncle Ned,                                          61
+
+
+  Vinie,                                             130
+
+
+  Walk, Talk, Chicken with your Head Pecked,           4
+
+  Walk, Tom Wilson,                                   68
+
+  Wanted: Cornbread and Coon,                         37
+
+  War is On, The,                                    207
+
+  Washing Mamma's Dishes,                            189
+
+  Watermelon Preferred,                              110
+
+  We Are "All the Go",                                52
+
+  We'll Stick to the Hoe,                            123
+
+  What Will We Do for Bacon?,                        185
+
+  When I Go to Marry,                                144
+
+  When I Was a Little Boy,                           168
+
+  When I Was a Roustabout,                           145
+
+  When My Wife Dies,                                  26
+
+  Why Look at Me,                                    113
+
+  Why the Woodpecker's Head Is Red,                  203
+
+  Wild Hog Hunt,                                     165
+
+  Wild Negro Bill,                                    94
+
+  Willie Wee,                                        189
+
+  Wind Bag, A,                                       101
+
+  Wooing,                                            140
+
+
+  Year of Jubilee,                                    58
+
+  You Had Better Mind Master,                        126
+
+  You Have Made Me Weep,                             128
+
+  You Love your Girl,                                 95
+
+  Young Master and Old Master,                       169
+
+
+
+
+FOREIGN SECTION INDEX
+
+
+  _African Rhymes_
+
+    Byanswahn-Byanswahn,                             219
+    Near Waldo Teedo o mah nah mejai,                216
+    Sai Boddeoh Sumpun Komo,                         218
+    The Frogs,                                       220
+    The Owl,                                         217
+    The Turkey Buzzard,                              220
+    Tuba Blay,                                       217
+
+
+  _A Philippine Island Rhyme_,                       227
+
+
+  _Trinidad Rhymes_
+
+    A Tom Cat,                                       226
+    Un Belle Marie Coolie,                           225
+
+
+  _Jamaica Rhyme_
+
+    Buscher Garden,                                  222
+
+
+  _Venezuelan Rhymes_
+
+    A "Would Be" Immigrant,                          224
+    Game Contestants' Song,                          223
+
+
+
+
+PART II
+
+
+A Study in Negro Folk Rhymes, 228
+
+
+
+
+COMPARATIVE STUDY INDEX
+
+
+_Love Songs_
+
+  Bitter Lovers' Quarrel; One Side,                  127
+
+  Courting Boy, The,                                 141
+
+  It Is Hard to Love,                                132
+  I Wish I Was an Apple,                             133
+
+  Lovers' Good-night,                                129
+
+  Me and my Lover,                                   132
+  Mourning Slave Fiancees,                           129
+
+  Pretty Polly Ann,                                  142
+
+  Rejected by Eliza Jane,                            134
+  Roses Red,                                         128
+
+  She Hugged Me and She Kissed Me,                   131
+
+  Vinie,                                             130
+
+  Wooing,                                            140
+
+  You Have Made Me Weep,                             128
+  You Love your Girl,                                 95
+
+
+_Dance Songs_
+
+  Ark, The,                                           44
+  Aunt Dinah Drunk,                                   53
+
+  Baa! Baa! Black Sheep,                              27
+  Banjo Picking,                                      21
+  Brother Ben and Sister Sal,                         46
+  Bull Frog Put on the Soldier Clothes,               20
+
+  Chicken Pie,                                        69
+  Cotton-eyed Joe,                                    32
+  Cow Needs a Tail in Fly-time, The,                  35
+
+  Devilish Pigs,                                      24
+  Die in the Pig-Pen Fighting,                        39
+  Dinah's Dinner Horn,                                18
+  Don't Ask Me Questions,                             63
+
+  Forty-four,                                         71
+  Fox and Geese,                                      40
+
+  Gooseberry Wine,                                    41
+  Gray and Black Horses,                              45
+
+  Ham Beats All Meat,                                 67
+  He Is my Horse,                                     16
+  Hoecake,                                            49
+
+  I am not Going to Hobo Any More,                    70
+  I Love Somebody,                                    51
+  I Went down the Road,                               50
+  I Would not Marry a Black Girl,                     56
+  I Would not Marry a Yellow or a White Negro Girl,   63
+  I'd rather Be a Negro than a Poor White Man,        42
+
+  Jack and Dinah Want Freedom,                       215
+  Jaybird,                                            14
+  Jaybird Died with the Whooping Cough,               36
+
+  Little Red Hen,                                     37
+  Little Rooster, The,                                29
+
+  Master is Six Feet One Way,                         40
+  Master's "Stolen Coat," The,                        62
+  My Fiddle,                                          39
+  My Mule,                                            19
+  My Wonderful Travel,                                55
+
+  Negro and the Policeman, The,                       66
+  Nobody Looking,                                     48
+
+  Off from Richmond,                                  15
+  Old Gray Mink,                                      33
+  Old Hen Cackled, The,                               50
+  Old Molly Hare,                                     22
+  Old Section Boss, The,                              64
+  Old Woman in the Hills, The,                        54
+  Opossum Hunt, An,                                   23
+
+  Plaster,                                            60
+  'Possum up the Gum Stump,                            3
+  Promises of Freedom,                                25
+
+  Rabbit Soup,                                        33
+  Raccoon and Opossum Fight,                          31
+  Ration Day,                                         38
+  Rattler,                                            46
+  Run, Nigger, Run!                                   34
+
+  Sail Away, Ladies!                                  20
+  Shake the Persimmons Down,                          34
+  Sheep and Goat,                                     17
+  Sheep Shell Corn,                                   59
+  Sick Wife, A,                                       55
+  Simon Slick's Mule,                                 47
+  Sugar in Coffee,                                    30
+  Suze Ann,                                           68
+
+  Uncle Ned,                                          61
+
+  Walk, Tom Wilson,                                   68
+  Wanted: Cornbread and Coon,                         37
+  We Are "All the Go",                                52
+  When My Wife Dies,                                  26
+
+  Year of Jubilee,                                    58
+
+
+_Animal and Nature Lore_
+
+  Animal Attire,                                     158
+  Animal Fair,                                       159
+  Animal Persecutors,                                205
+  Awful Harbingers,                                  149
+
+  Bob-White's Song,                                  155
+  Bridle Up a Rat,                                   157
+  Buck and Berry,                                    172
+  Buck-eyed Rabbit! Whoopee!                         175
+
+  Chuck Will's Widow Song,                           156
+
+  Frog in a Mill,                                    167
+  Frog Went a-Courting,                              190
+  Full Pocketbook, A,                                 99
+
+  Great Owl's Song,                                  151
+
+  Jaybird,                                            14
+  Judge Buzzard,                                      16
+
+  Last of Jack, The,                                 149
+  Little Dogs,                                       150
+
+  Man of Words, A,                                   208
+  Miss Terrapin and Miss Toad,                       162
+  Molly Cottontail,                                    8
+  My Dog, Cuff,                                      150
+  My Speckled Hen,                                   170
+
+  Old Molly Hare,                                     22
+  Origin of the Snake, The,                          165
+
+  Snail's Reply, The,                                170
+  Strange Brood, A,                                  166
+
+  Tails,                                               5
+  Town Bird and the Country Bird, The,               166
+  Turtle's Song, The,                                 30
+
+  Why the Woodpecker's Head is Red,                  203
+
+
+_Nursery Rhymes_
+
+  A. B. C.,                                          154
+  Alabama Way, The,                                  164
+  Animal Fair,                                       159
+  Are You Careful?,                                  203
+  Aspiration,                                        159
+  Awful Harbingers,                                  149
+
+  Baby Wants Cherries,                               181
+  Bat! Bat!,                                         202
+  Black-eyed Peas for Luck,                          200
+  Blessings,                                         204
+  Bob-White's Song,                                  155
+  Buck-eyed Rabbit! Whoopee!,                        175
+  Butterfly,                                         182
+
+  Captain Coon,                                      176
+  Children's Seating Rhyme,                          179
+  Chuck Will's Widow Song,                           156
+  Cooking Dinner,                                    156
+  Crossing the River,                                  6
+
+  Deedle, Dumpling,                                  171
+  Destinies of Good and Bad Children,                200
+  Did You Feed My Cow?,                               78
+  Don't Sing before Breakfast,                       186
+  Doodle-Bug,                                        174
+
+  End of Ten Little Negroes, The,                    163
+
+  Fishing Simon,                                     177
+  Flap-jacks,                                        196
+  Four Runaway Negroes; Whence They Came,            205
+  Frog Went a-Courting,                              190
+  From Slavery,                                      162
+
+  Getting Ten Negro Boys Together,                   184
+  Go to Bed,                                         175
+  Good-by, Ring,                                     171
+  Grasshopper Sitting on a Sweet Potato Vine,        173
+  Grasshopper-Sense,                                 169
+  Great Owl's Song, The,                             151
+  Guinea Gall,                                       176
+
+  Hated Blackbird and Crow, The,                     183
+  Hawk and Chickens,                                 185
+  Here I Stand,                                      153
+
+  In '76,                                            178
+  In a Mulberry Tree,                                158
+  In a Rush,                                         183
+
+  Judge Buzzard,                                      16
+
+  Little Boy Who Couldn't Count Seven,               160
+  Little Dogs,                                       150
+  Little Negro Fly, The,                             199
+  Little Pickaninny, A,                              186
+  Little Sleeping Negroes,                           187
+
+  Mamma's Darling,                                   188
+  Miss Blodger,                                      199
+  Miss Terrapin and Miss Toad,                       162
+  Mother Says I am Six Years Old,                    164
+  Mud-Log Pond,                                      185
+  My Baby,                                           180
+  My Dog, Cuff,                                      150
+  My Folks and your Folks,                           187
+  My Little Pig,                                     157
+  My Speckled Hen,                                   170
+  Mysterious Face Washing,                           174
+
+  Negro Baker Man,                                   154
+  Nesting,                                           180
+
+  Old Aunt Kate,                                     179
+  Origin of the Snake, The,                          165
+
+  Paying Debts with Kicks,                           184
+  Periwinkle,                                        201
+  Pig Tail,                                          153
+  'Possum up the Gum Stump,                            3
+  Pretty Little Girl,                                172
+  Pretty Pair of Chickens, A,                        181
+
+  Rabbit Hash,                                       203
+  Rabbit Soup,                                        33
+  Race-Starter's Rhyme, A,                           180
+  Randsome Tantsome,                                 202
+  Raw Head and Bloody Bones,                         174
+  Redhead Woodpecker,                                178
+
+  Sam is a Clever Fellow,                            151
+  Shoo! Shoo!,                                       196
+  Stealing a Ride,                                   188
+  Stick-a-ma-stew,                                   155
+  Strange Family, A,                                 171
+  Strange Old Woman, A,                              178
+  Strong Hands,                                      167
+
+  Tails,                                               5
+  Taking a Walk,                                     183
+  Teaching Table Manners,                            197
+  Too Much Watermelon,                               182
+  Training the Boy,                                  201
+  Tree Frogs,                                        168
+  Turtle's Song, The,                                 30
+  Two Sick Negro Boys,                               173
+
+  Washing Mamma's Dishes,                            189
+  What Will We Do for Bacon?,                        185
+  Wild Hog Hunt,                                     165
+  Willie Wee,                                        189
+
+  You Had Better Mind Master,                        126
+  Young Master and Old Master,                       169
+
+
+_Charms and Superstitions_
+
+  Bat! Bat!,                                         202
+  Black-eyed Peas for Luck,                          200
+
+  Don't Sing before Breakfast,                       186
+
+  How to Make it Rain,                               101
+
+  Jaybird,                                            14
+
+  Molly Cottontail, or Graveyard Rabbit,               8
+  My Speckled Hen,                                   170
+
+  Periwinkle,                                        201
+
+  Speak Softly,                                      214
+
+
+_Hunting Songs_
+
+  Fox and Geese,                                      40
+
+  He will Get Mr. Coon,                               28
+  Hunting Camp, The,                                  43
+
+  Miss Slippy Sloppy,                                100
+
+  Opossum Hunt, An,                                   23
+
+  Rattler,                                            46
+
+
+_Drinking Songs_
+
+  Aunt Dinah Drunk,                                   53
+
+  Bring on your Hot Corn,                             29
+
+  Little Red Hen,                                     37
+
+
+_Wise and Gnomic Sayings_
+
+  Brag and Boast,                                    213
+
+  Don't Tell All You Know,                           214
+  Drinking Razor Soup,                               211
+
+  Fed from the Tree of Knowledge,                    212
+
+  How to Plant and Cultivate Seeds,                  208
+
+  Independent,                                       209
+
+  Learn to Count,                                    207
+
+  Man of Words, A,                                   208
+
+  Old Man Know-all,                                  211
+
+  Self-control,                                      213
+  Speak Softly,                                      214
+  Still Water Runs Deep,                             214
+
+  Temperance Rhyme,                                  209
+  That Hypocrite,                                    210
+  Tongue, The,                                       212
+
+  War is On, The,                                    207
+
+
+_Harvest Songs_
+
+  Harvest Song,                                       57
+
+
+_Biblical and Religious Themes_
+
+  Ark, The,                                           44
+
+  How to Keep or Kill the Devil,                     104
+
+  Jawbone,                                            12
+  Jonah's Band,                                        1
+
+  Satan,                                              93
+
+
+_Play Songs_
+
+  Anchor Line,                                        87
+
+  Budget, A,                                          79
+
+  Did You Feed my Cow?,                               78
+  Down in the Lonesome Garden,                        89
+
+  Green Oak Tree! Rocky-o!,                           81
+
+  Hawk and Buzzard,                                   75
+  He Loves Sugar and Tea,                             84
+  Here Comes a Young Man Courting,                    85
+
+  Kissing Song,                                       82
+  Kneel on This Carpet,                               82
+
+  Likes and Dislikes,                                 76
+  Little Sister, Won't You Marry Me?,                 90
+
+  Old Black Gnats, The,                               80
+
+  Peep Squirrel,                                      78
+  Precious Things,                                    84
+
+  Raise a "Rucus" To-night,                           90
+
+  Sallie,                                             87
+  Salt-rising Bread,                                  83
+  Song to the Runaway Slave,                          88
+  Sugar Loaf Tea,                                     81
+  Susan Jane,                                         77
+  Susie Girl,                                         76
+  Sweet Pinks and Roses,                              92
+
+
+_Miscellaneous_
+
+  Antebellum Courtship Inquiry,                      135
+  Antebellum Marriage Proposal,                      137
+  As I Went to Shiloh,                                13
+  Aunt Jemima,                                       107
+
+  Bad Features,                                      100
+  Bedbug,                                             96
+  Blindfold Play Chant,                               73
+  Bought Me a Wife,                                  145
+
+  Captain Dime,                                        5
+  Care in Bread-making,                              112
+  Caught by the Witch Play,                           74
+  Christmas Turkey,                                   98
+  Clandestine Letter, A,                             136
+  Coffee Grows on White Folks' Trees,                107
+  College Ox, The,                                   112
+  Courtship,                                         138
+  Crooked Nose Jane,                                  99
+  Crossing a Foot-Log,                               109
+
+  Day's Happiness, A,                                125
+  Destitute Former Slave Owners,                      97
+  Do I Love You?,                                    129
+  Does Money Talk?,                                  113
+
+  Elephant, The,                                     116
+
+  Fattening Frogs for Snakes,                         97
+  Few Negroes by States, A,                          117
+  Fine Plaster, A,                                   124
+  Fox and Geese Play,                                 73
+  Fox and Rabbit Drinking Proposition,               111
+  Frightened Away from a Chicken-Roost,               95
+
+  Going to be Good Slaves,                           101
+  Good-by, Wife!,                                    148
+  Goosie-Gander Play Rhyme,                           75
+
+  Half Way Doings,                                   120
+  Hawk and Chickens Play,                             74
+  He Paid Me Seven (Parody),                         122
+  Hear-say,                                          114
+  How to Get to Glory Land,                           96
+  How to Please a Preacher,                          117
+
+  I Walked the Road,                                 139
+  I'll Eat when I'm Hungry,                          114
+  I'll Get You, Rabbit!,                             116
+  I'll Wear Me a Cotton Dress,                       118
+  I'm a "Round-Town" Gentleman,                      108
+  If You Frown,                                      137
+  Indian Flea,                                        12
+  Invited to Take the Escort's Arm,                  135
+
+  Joe and Malinda Jane,                                4
+  John Henry,                                        105
+  Johnny Bigfoot,                                     93
+  Juba,                                                9
+  Jump Jim Crow,                                      13
+
+  Kept Busy,                                         109
+
+  Let's Marry Courtship,                             138
+  Looking for a Fight,                               118
+  Love is Just a Thing of Fancy,                       2
+
+  Mule's Kick, The,                                   98
+  Mule's Nature, The,                                108
+
+  Negro Soldier's Civil War Chant,                   115
+  Negroes Never Die,                                  11
+  Newly Weds, The,                                   144
+  No Room to Poke Fun,                                99
+
+  On Top of the Pot,                                  10
+  Our Old Mule,                                      112
+  Outrunning the Devil,                              103
+
+  Page's Geese,                                      102
+  Parody--He Paid Me Seven,                          122
+  Parody on "Now I Lay Me Down to Sleep",            115
+  Parody on "Reign, Master Jesus! Reign!",           122
+  Presenting a Hat to Phoebe,                        140
+  Pretty Little Pink,                                127
+
+  Rascal, The,                                       106
+  Request to Sell, A,                                123
+
+  Sex Laugh,                                         102
+  Short Letter, A,                                   113
+  Slave Marriage Ceremony Supplement,                143
+  Sparking or Courting,                              136
+  Stand Back, Black Man,                              10
+  Still Water Creek,                                   2
+
+  "They Steal" Gossip,                               110
+  This Sun is Hot,                                   108
+  Thrifty Slave, The,                                 94
+  To Win a Yellow Girl,                              102
+  Turkey Funeral,                                    111
+  T-U-Turkey,                                          6
+  Two Times One,                                     121
+
+  Uncle Jerry Fants,                                 109
+
+  Walk, Talk, Chicken With your Head Pecked,           4
+  We'll Stick to the Hoe,                            123
+  When I Go to Marry,                                144
+  When I Was a Roustabout,                           145
+  Why Look at Me?,                                   113
+  Wild Negro Bill,                                    94
+  Wind Bag, A,                                       101
+
+
++----------------------------------------------------------------------+
+
+Transcriber's Note--Con't: The following changes and corrections were
+made:
+
+  p. x: missing u-macron added (... 'is fūner'l song.)
+  p. 9: marker mentioned in footnote was originally a double dagger
+  p. 20: extra " removed (He's a "dead shore shot," gwineter kill
+         dem crows." to ... gwineter kill dem crows.)
+  p. 21: Footnote originally read "Those starred ..."
+  p. 29: misplaced apostrophe moved ('An toted him away. to An'
+         toted him away.)
+  p. 31: one to on (Mud turkle settin' on de end o' dat log;)
+  p. 38: . to , (Den I e't 'is 'lasses all de week,)
+  p. 43: two identical footnotes (note [16]) merged
+  p. 45: indent on 3rd line removed in "Grey and Black Horses"
+  p. 66: missing o-macron added (An' dat ole Police shō' make me
+         jump.)
+  p. 70: missing o-macron added (Now retch out yō' han' ...)
+  p. 74: extra " removed ("Chickamee," chickamee, cranie-crow." to
+         "Chickamee, chickamee, cranie-crow.")
+  p. 87: missing ! added to 1st Sallie! in second set of brackets
+  p. 145: missing close " added ("Potrack! Potrack!")
+  p. 151: indent on lines 3 and 4 removed in "The Great Owl's Song"
+  p. 157: "But he ..." to "But: He ..." in 3rd stanza of "My Little Pig"
+  p. 165: ; to ! (Mash his head; de sun shine bright!)
+  p. 173: missing hyphen added (Grasshopper a-settin' on ...)
+  p. 174: missing hyphen added (Doodle-Bug, 3rd line, 1st "Doodle-bug!")
+  p. 228: PART II heading added
+  p. 290: periods after the words "Solitaire" and "Supplemented"
+          removed
+  p. 290: missing period added (I a.)
+  p. 292: missing ! added after last "Juba!" in doublet
+  p. 303: comma changed to period (their skill will long linger.)
+  pp. 307, 314, 327, 345: ante-bellum to antebellum to match rest
+                          of text
+
+Several spelling and punctuation irregularies between the index and the
+main text have been corrected without note. Several alphabetization
+errors in the index were also corrected.
+
+"Push the Hog's Feet under the Bed" was removed from p. 333 of the
+index--it was listed with no page number, and does not appear in the
+text. Also, the poem "A Day's Happiness" (p. 125) was called "A Day's
+Happenings" in the index (pp. 328, 345)--this was corrected.
+
++----------------------------------------------------------------------+
+
+
+
+
+
+End of the Project Gutenberg EBook of Negro Folk Rhymes, by Thomas W. Talley
+
+*** END OF THIS PROJECT GUTENBERG EBOOK NEGRO FOLK RHYMES ***
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+
+The Project Gutenberg EBook of Negro Folk Rhymes, by Thomas W. Talley
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Negro Folk Rhymes
+       Wise and Otherwise: With a Study
+
+Author: Thomas W. Talley
+
+Release Date: November 7, 2008 [EBook #27195]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK NEGRO FOLK RHYMES ***
+
+
+
+
+Produced by Audrey Longhurst, S.D. and the Online
+Distributed Proofreading Team at http://www.pgdp.net
+
+
+
+
+
+
+</pre>
+
+
+<div class="tn">
+<p>Transcriber's Note: Corrections are underlined with a <ins class="correction" title="original reads ...">thin dotted
+line</ins>&mdash;hovering over them will reveal an explanatory transcriber's note.
+Hyphenation of the word 'antebellum' has been regularized
+(ante-bellum &#8594; antebellum), and several spelling and punctuation irregularies between the
+index and the main text have been corrected without note.
+Several alphabetization errors in the index were also corrected. All other
+spelling and punctuation is as it appeared in the original.</p>
+
+<p>Two identical footnotes on pages 42-43 have been merged into one (<a href="#Footnote_16_16">Footnote 16</a>).</p>
+
+<p>The Table of Contents did not appear in the original&mdash;it has been added by the transcriber.</p>
+</div>
+
+<div class="clearbox">
+<h1>NEGRO FOLK RHYMES</h1>
+</div>
+
+<div class="clearbox">
+
+<div class="figcenter" style="width: 200px;">
+<img src="images/prntmk1.png" width="200" height="70" alt="" title="" />
+</div>
+
+<p class="pubsinfo">THE MACMILLAN COMPANY</p>
+
+<p class="pubsinfo">NEW YORK &middot; BOSTON &middot; CHICAGO &middot; DALLAS<br />
+ATLANTA &middot; SAN FRANCISCO</p>
+
+<p class="pubsinfo">MACMILLAN &amp; CO., <span class="smcap">Limited</span></p>
+
+<p class="pubsinfo">LONDON &middot; BOMBAY &middot; CALCUTTA<br />
+MELBOURNE</p>
+
+<p class="pubsinfo">THE MACMILLAN CO. OF CANADA, <span class="smcap">Ltd.</span></p>
+
+<p class="pubsinfo">TORONTO</p>
+</div>
+
+<div class="clearbox">
+<h1><span class="smcap">Negro Folk Rhymes</span><br />
+<span class="subtitle">Wise and Otherwise</span></h1>
+
+<p class="center">WITH A STUDY</p>
+
+<p class="center"><small>BY</small><br />
+<big>THOMAS W. TALLEY</big>,<br />
+<small>OF FISK UNIVERSITY</small></p>
+
+<div class="figcenter" style="width: 113px;">
+<img src="images/tpquills.png" width="113" height="190" alt="" title="" />
+</div>
+
+<p class="center">New York<br />
+THE MACMILLAN COMPANY<br />
+1922</p>
+
+<p class="center"><small><i>All rights reserved</i></small></p>
+</div>
+
+<div class="clearbox-sm">
+<p class="center">PRINTED IN THE UNITED STATES OF AMERICA</p>
+<p class="center"><span class="smcap">Copyright, 1922,<br />
+By THE MACMILLAN COMPANY.</span><br /><br /></p>
+
+<p class="tpline">&nbsp;</p>
+
+<p class="center">Set up and printed. Published January, 1922.</p>
+
+<p class="center">Press of<br />
+J. J. Little &amp; Ives Company<br />
+New York, U. S. A.
+</p>
+</div>
+
+<table border="0" cellpadding="2" cellspacing="0" summary="Table of Contents">
+<tr><td></td><td align="right"><small>PAGE</small></td></tr>
+<tr><td><small>INTRODUCTION</small></td><td align="right"><a href="#Page_v">v</a></td></tr>
+<tr><td><small>PART I: NEGRO FOLK RHYMES</small></td><td align="right"><a href="#Part_I">1</a></td></tr>
+<tr><td>Dance Rhyme Section</td><td align="right"><a href="#Page_1">1</a></td></tr>
+<tr><td>Dance Rhyme Song Section</td><td align="right"><a href="#Page_14">14</a></td></tr>
+<tr><td>Play Rhyme Section</td><td align="right"><a href="#Page_73">73</a></td></tr>
+<tr><td>Pastime Rhyme Section</td><td align="right"><a href="#Page_93">93</a></td></tr>
+<tr><td>Love Rhyme Section</td><td align="right"><a href="#Page_127">127</a></td></tr>
+<tr><td>Love Song Rhyme Section</td><td align="right"><a href="#Page_131">131</a></td></tr>
+<tr><td>Courtship Rhyme Section</td><td align="right"><a href="#Page_135">135</a></td></tr>
+<tr><td>Courtship Song Rhyme Section</td><td align="right"><a href="#Page_141">141</a></td></tr>
+<tr><td>Marriage Rhyme Section</td><td align="right"><a href="#Page_143">143</a></td></tr>
+<tr><td>Married Life Rhyme Section</td><td align="right"><a href="#Page_144">144</a></td></tr>
+<tr><td>Nursery Rhyme Section</td><td align="right"><a href="#Page_149">149</a></td></tr>
+<tr><td>Wise Saying Section</td><td align="right"><a href="#Page_207">207</a></td></tr>
+<tr><td>Foreign Section</td><td align="right"><a href="#Page_216">216</a></td></tr>
+<tr><td><small>PART II: A STUDY IN NEGRO FOLK RHYMES</small></td><td align="right"><a href="#Page_228">228</a></td></tr>
+<tr><td><small>GENERAL INDEX</small></td><td align="right"><a href="#Page_327">327</a></td></tr>
+<tr><td><small>COMPARATIVE STUDY INDEX</small></td><td align="right"><a href="#Page_337">337</a></td></tr>
+</table>
+
+<p><!-- Page v --><span class='pagenum'><a name="Page_v" id="Page_v">[Pg v]</a></span></p>
+<h2>INTRODUCTION</h2>
+
+<p>Of the making of books by individual authors there is no end; but a
+cultivated literary taste among the exceptional few has rendered almost
+impossible the production of genuine folk-songs. The spectacle,
+therefore, of a homogeneous throng of partly civilized people dancing to
+the music of crude instruments and evolving out of dance-rhythm a
+lyrical or narrative utterance in poetic form is sufficiently rare in
+the nineteenth century to challenge immediate attention. In <i>Negro Folk
+Rhymes</i> is to be found no inconsiderable part of the musical and poetic
+life-records of a people; the compiler presents an arresting volume
+which, in addition to being a pioneer and practically unique in its
+field, is as nearly exhaustive as a sympathetic understanding of the
+Negro mind, careful research, and labor of love can make it. Professor
+Talley of Fisk University has spared himself no pains in collecting and
+piecing together every attainable scrap and fragment of secular rhyme
+which might help in adequately interpreting the inner life of his own
+people.</p>
+
+<p><!-- Page vi --><span class='pagenum'><a name="Page_vi" id="Page_vi">[Pg vi]</a></span></p><p>Being the expression of a race in, or just emerging from bondage, these
+songs may at first seem to some readers trivial and almost wholly devoid
+of literary merit. In phraseology they may appear crude, lacking in that
+elegance and finish ordinarily associated with poetic excellence; in
+imagery they are at times exceedingly winter-starved, mediocre, common,
+drab, scarcely ever rising above the unhappy environment of the singers.
+The outlook upon life and nature is, for the most part, one of
+imaginative simplicity and child-like na&iuml;vet&eacute;; superstitions crowd in
+upon a worldly wisdom that is elementary, practical, and obvious; and a
+warped and crooked human nature, developed and fostered by
+circumstances, shows frequently through the lines. What else might be
+expected? At the time when these rhymes were in process of being created
+the conditions under which the American Negro lived and labored were not
+calculated to inspire him with a desire for the highest artistic
+expression. Restricted, cramped, bound in unwilling servitude, he looked
+about him in his miserable little world to see whatever of the beautiful
+or happy he might find; that which he discovered is pathetically slight,
+but, such as it is, it served to keep alive his stunted artist-soul
+under the most adverse circumstances. <!-- Page vii --><span class='pagenum'><a name="Page_vii" id="Page_vii">[Pg vii]</a></span>He saw the sweet pinks under a
+blue sky, or observed the fading violets and the roses that fall, as he
+passed to a tryst under the oak trees of a forest, and wrought these
+things into his songs of love and tenderness. Friendless and otherwise
+without companionship he lived in imagination with the beasts and birds
+of the great out-of-doors; he knew personally Mr. Coon, Brother Rabbit,
+Mr. 'Possum and their associates of the wild; Judge Buzzard and Sister
+Turkey appealed to his fancy as offering material for what he supposed
+to be poetic treatment. Wherever he might find anything in his lowly
+position which seemed to him truly useful or beautiful, he seized upon
+it and wove about it the sweetest song he could sing. The result is not
+so much poetry of a high order as a valuable illustration of the
+persistence of artist-impulses even in slavery.</p>
+
+<p>In some of these folk-songs, however, may be found certain qualities
+which give them dignity and worth. They are, when properly presented,
+rhythmical to the point of perfection. I myself have heard many of them
+chanted with and without the accompaniment of clapping hands, stamping
+feet, and swaying bodies. Unfortunately a large part of their liquid
+melody and flexibility of movement is lost through confinement in cold
+print; but when<!-- Page viii --><span class='pagenum'><a name="Page_viii" id="Page_viii">[Pg viii]</a></span>
+they are heard from a distance on quiet summer nights
+or clear Southern mornings, even the most fastidious ear is satisfied
+with the rhythmic pulse of them. That pathos of the Negro character
+which can never be quite adequately caught in words or transcribed in
+music is then augmented and intensified by the peculiar quality of the
+Negro voice, rich in overtones, quavering, weird, cadenced, throbbing
+with the sufferings of a race. Or perhaps that well-developed sense of
+humor which has, for more than a century, made ancestral sorrows
+bearable finds fuller expression in the lilting turn of a note than in
+the flashes of wit which abundantly enliven the pages of this volume.
+There is one lyric in particular which, in evident sincerity of feeling,
+simple and unaffected grace, and regularity of form, appeals to me as
+having intrinsic literary value:</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">She hug' me, an' she kiss' me,<br /></span>
+<span class="i0">She wrung my han' an' cried.<br /></span>
+<span class="i0">She said I wus de sweetes' thing<br /></span>
+<span class="i0">Dat ever lived or died.<br /></span>
+</div><div class="stanza">
+<span class="i0">She hug' me an' she kiss' me.<br /></span>
+<span class="i0">Oh Heaben! De touch o' her han'!<br /></span>
+<span class="i0">She said I wus de puttiest thing<br /></span>
+<span class="i0">In de shape o' mortal man.<br /></span>
+</div><div class="stanza">
+<!-- Page ix --><span class='pagenum'><a name="Page_ix" id="Page_ix">[Pg ix]</a></span><span class="i0">I told her dat I love' her,<br /></span>
+<span class="i0">Dat my love wus bed-cord strong;<br /></span>
+<span class="i0">Den I axed her w'en she'd have me,<br /></span>
+<span class="i0">An' she jes' say, "Go 'long!"<br /></span>
+</div></div>
+
+<p>There is also a dramatic quality about many of these rhymes which must
+not be overlooked. It has long been my observation that the Negro is
+possessed by nature of considerable, though not as yet highly developed,
+histrionic ability; he takes delight in acting out in pantomime whatever
+he may be relating in song or story. It is not surprising, then, to find
+that the play-rhymes, originating from the "call" and "response," are
+really little dramas when presented in their proper settings. "Caught By
+The Witch" would not be ineffective if, on a dark night, it were acted
+in the vicinity of a graveyard! And one ballad&mdash;if I may be permitted to
+dignify it by that name&mdash;called "Promises of Freedom" is characterized
+by an unadorned narrative style and a dramatic ending which are
+associated with the best English folk-ballads. The singer tells simply
+and, one feels, with a grim impersonality of how his mistress promised
+to set him free; it seemed as if she would never die&mdash;but "she's somehow
+gone"! His master likewise made promises,</p>
+
+<div class="poem"><div class="stanza">
+<!-- Page x --><span class='pagenum'><a name="Page_x" id="Page_x">[Pg x]</a></span><span class="i0">Yes, my ole Mosser promise' me;<br /></span>
+<span class="i0">But "his papers" didn't leave me free.<br /></span>
+<span class="i0">A dose of pizen he'pped 'im along.<br /></span>
+<span class="i0">May de Devil preach 'is
+ <ins class="correction" title="original reads: funer'l">f&#363;ner'l</ins> song.<br /></span>
+</div></div>
+
+<p>The manner of this conclusion is strikingly like that of the Scottish
+ballad, "Edward,"</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">The curse of hell frae me sall ye beir,<br /></span>
+<span class="i4">Mither, Mither,<br /></span>
+<span class="i0">The curse of hell frae me sall ye beir,<br /></span>
+<span class="i0">Sic counseils ye gave to me O.<br /></span>
+</div></div>
+
+<p>In both a story of cruelty is suggested in a single artistic line and
+ended with startling, dramatic abruptness.</p>
+
+<p>In fact, these two songs probably had their ultimate origin in not
+widely dissimilar types of illiterate, unsophisticated human society.
+Professor Talley's "Study in Negro Folk Rhymes," appended to this volume
+of songs, is illuminating. One may not be disposed to accept without
+considerable modification his theories entire; still his account from
+personal, first-hand knowledge of the beginnings and possible evolution
+of certain rhymes in this collection is apparently authentic. Here we
+have again, in the nineteenth century, the record of a singing, dancing
+people creating by a process<!-- Page xi --><span class='pagenum'><a name="Page_xi" id="Page_xi">[Pg xi]</a></span> approximating communal authorship a mass
+of verse embodying tribal memories, ancestral superstitions, and racial
+wisdom handed down from generation to generation through oral tradition.
+These are genuine folk-songs&mdash;lyrics, ballads, rhymes&mdash;in which are
+crystallized the thought and feeling, the universally shared lore of a
+folk. Recent theorizers on poetic origins who would insist upon
+individual as opposed to community authorship of certain types of
+song-narrative might do well to consider Professor Talley's
+characteristic study. And students of comparative literature who love to
+recreate the life of a tribe or nation from its song and story will
+discover in this collection a mine of interesting material.</p>
+
+<p>Fisk University, the center of Negro culture in America, is to be
+congratulated upon having initiated the gathering and preservation of
+these relics, a valuable heritage from the past. Just how important for
+literature this heritage may prove to be will not appear until this
+institution&mdash;and others with like purposes&mdash;has fully developed by
+cultivation, training, and careful fostering the artistic impulses so
+abundantly a part of the Negro character. A race which has produced,
+under the most disheartening conditions, a mass of folk-poetry such<!-- Page xii --><span class='pagenum'><a name="Page_xii" id="Page_xii">[Pg xii]</a></span> as
+<i>Negro Folk Rhymes</i> may be expected to create with unlimited
+opportunities for self-development, a literature and a distinctive music
+of superior quality.</p>
+
+<p class="introsig">
+Walter Clyde Curry.</p>
+
+<p>
+Vanderbilt University,<br />
+September 30, 1921.<br />
+</p>
+
+<h2><a name="Part_I" id="Part_I">
+PART I<br />
+<br />
+NEGRO FOLK RHYMES</a></h2>
+
+<p><!-- Page 1 --><span class='pagenum'><a name="Page_1" id="Page_1">[Pg 1]</a></span></p>
+
+<h3>Dance Rhyme Section</h3>
+
+<div class="poem">
+
+<h5>JONAH'S BAND PARTY</h5>
+
+<div class="stanza">
+<span class="i0">Setch a kickin' up san'! Jonah's Ban'!<br /></span>
+<span class="i0">Setch a kickin' up san'! Jonah's Ban'!<br /></span>
+<span class="i0">"Han's up sixteen! Circle to de right!<br /></span>
+<span class="i0">We's gwine to git big eatin's here to-night."<br /></span>
+</div><div class="stanza">
+<span class="i0">Setch a kickin' up san'! Jonah's Ban'!<br /></span>
+<span class="i0">Setch a kickin' up san'! Jonah's Ban'!<br /></span>
+<span class="i0">"Raise yo' right foot, kick it up high,<br /></span>
+<span class="i0">Knock dat <a name="FNanchor_1_1" id="FNanchor_1_1"></a><a href="#Footnote_1_1" class="fnanchor">[1]</a>Mobile Buck in de eye."<br /></span>
+</div><div class="stanza">
+<span class="i0">Setch a kickin' up san'! Jonah's Ban'!<br /></span>
+<span class="i0">Setch a kickin' up san'! Jonah's Ban'!<br /></span>
+<span class="i0">"Stan' up, flat foot, <a href="#Footnote_1_1" class="fnanchor">[1]</a>Jump dem Bars!<br /></span>
+<span class="i0"><a href="#Footnote_1_1" class="fnanchor">[1]</a>Karo back'ards lak a train o' kyars."<br /></span>
+</div><div class="stanza">
+<span class="i0">Setch a kickin' up san'! Jonah's Ban'!<br /></span>
+<span class="i0">Setch a kickin' up san'! Jonah's Ban'!<br /></span>
+<span class="i0">"Dance 'round, Mistiss, show 'em de p'int;<br /></span>
+<span class="i0">Dat Nigger don't know how to <a href="#Footnote_1_1" class="fnanchor">[1]</a>Coonjaint."<br /></span>
+</div></div>
+
+<div class="footnotes">
+<div class="footnote"><p><a name="Footnote_1_1" id="Footnote_1_1"></a><a href="#FNanchor_1_1"><span class="label">[1]</span></a> These are dance steps. For explanation read the Study in
+Negro Folk Rhymes.</p></div></div>
+
+<p><!-- Page 2 --><span class='pagenum'><a name="Page_2" id="Page_2">[Pg 2]</a></span></p>
+
+<div class="poem">
+
+<h5>LOVE IS JUST A THING OF FANCY</h5>
+
+<div class="stanza">
+<span class="i0">Love is jes a thing o' fancy,<br /></span>
+<span class="i0">Beauty's jes a blossom;<br /></span>
+<span class="i0">If you wants to git y&#333;' finger bit,<br /></span>
+<span class="i0">Stick it at a 'possum.<br /></span>
+</div><div class="stanza">
+<span class="i0">Beauty, it's jes skin deep;<br /></span>
+<span class="i0">Ugly, it's to de bone.<br /></span>
+<span class="i0">Beauty, it'll jes fade 'way;<br /></span>
+<span class="i0">But Ugly'll h&#333;l' 'er own.<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5>STILL WATER CREEK</h5>
+
+<div class="stanza">
+<span class="i0">'Way down yon'er on Still Water Creek,<br /></span>
+<span class="i0">I got stalded an' stayed a week.<br /></span>
+<span class="i0">I see'd Injun Puddin and Punkin pie,<br /></span>
+<span class="i0">But de black cat stick 'em in de yaller cat's eye.<br /></span>
+</div><div class="stanza">
+<span class="i0">'Way down yon'er on Still Water Creek,<br /></span>
+<span class="i0">De Niggers grows up some ten or twelve feet.<br /></span>
+<span class="i0">Dey goes to bed but dere hain't no use,<br /></span>
+<span class="i0">Caze deir feet sticks out fer de chickens t' roost.<br /></span>
+</div><div class="stanza">
+<span class="i0">I got hongry on Still Water Creek,<br /></span>
+<span class="i0">De mud to de hub an' de hoss britchin weak.<br /></span>
+<span class="i0">I stewed bullfrog chitlins, baked polecat pie;<br /></span>
+<span class="i0">If I goes back dar, I sh&#333;'s gwine to die.<br /></span>
+</div></div>
+
+<p><!-- Page 3 --><span class='pagenum'><a name="Page_3" id="Page_3">[Pg 3]</a></span></p>
+
+<div class="poem">
+
+<h5>'POSSUM UP THE GUM STUMP</h5>
+
+<div class="stanza">
+<span class="i0">'Possum up de gum stump,<br /></span>
+<span class="i0">Dat raccoon in de holler;<br /></span>
+<span class="i0">Twis' 'im out, an' git 'im down,<br /></span>
+<span class="i0">An' I'll gin you a half a doller.<br /></span>
+</div><div class="stanza">
+<span class="i0">'Possum up de gum stump,<br /></span>
+<span class="i0">Yes, cooney in de holler;<br /></span>
+<span class="i0">A pretty gal down my house<br /></span>
+<span class="i0">Jes as fat as she can waller.<br /></span>
+</div><div class="stanza">
+<span class="i0">'Possum up de gum stump,<br /></span>
+<span class="i0">His jaws is black an' dirty;<br /></span>
+<span class="i0">To come an' kiss you, pretty gal,<br /></span>
+<span class="i0">I'd run lak a gobbler tucky.<br /></span>
+</div><div class="stanza">
+<span class="i0">'Possum up de gum stump,<br /></span>
+<span class="i0">A good man's hard to f&#299;n';<br /></span>
+<span class="i0">You'd better love me, pretty gal,<br /></span>
+<span class="i0">You'll git de yudder k&#299;n'.<br /></span>
+</div></div>
+
+<p><!-- Page 4 --><span class='pagenum'><a name="Page_4" id="Page_4">[Pg 4]</a></span></p>
+
+<div class="poem">
+
+<h5>JOE AND MALINDA JANE</h5>
+
+<div class="stanza">
+<span class="i0">Ole Joe jes swore upon 'is life<br /></span>
+<span class="i0">He'd make Merlindy Jane 'is wife.<br /></span>
+<span class="i0">W'en she hear 'im up 'is love an' tell,<br /></span>
+<span class="i0">She jumped in a bar'l o' mussel shell.<br /></span>
+<span class="i0">She scrape 'er back till de skin come off.<br /></span>
+<span class="i0">Nex' day she die wid de Whoopin' Cough.<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5>WALK, TALK, CHICKEN WITH YOUR HEAD PECKED!</h5>
+
+<div class="stanza">
+<span class="i0">Walk, talk, chicken wid y&#333;' head pecked!<br /></span>
+<span class="i0">You can crow w'en youse been dead.<br /></span>
+<span class="i0">Walk, talk, chicken wid y&#333;' head pecked!<br /></span>
+<span class="i0">You can h&#333;l' high y&#333;' bloody head.<br /></span>
+</div><div class="stanza">
+<span class="i0">You's whooped dat Blue Hen's Chicken,<br /></span>
+<span class="i0">You's beat 'im at his game.<br /></span>
+<span class="i0">If dere's some fedders on him,<br /></span>
+<span class="i0">Fer dat you's not to blame.<br /></span>
+</div><div class="stanza">
+<span class="i0">Walk, talk, chicken wid y&#333;' head pecked!<br /></span>
+<span class="i0">You beat ole Johnny Blue!<br /></span>
+<span class="i0">Walk, talk, chicken wid y&#333;' head pecked!<br /></span>
+<span class="i0">Say: "Cock-a-doo-dle-doo&mdash;!"<br /></span>
+</div></div>
+
+<p><!-- Page 5 --><span class='pagenum'><a name="Page_5" id="Page_5">[Pg 5]</a></span></p>
+
+<div class="poem">
+
+<h5>TAILS</h5>
+
+<div class="stanza">
+<span class="i0">De coon's got a long ringed bushy tail,<br /></span>
+<span class="i0">De 'possum's tail is bare;<br /></span>
+<span class="i0">Dat rabbit hain't got no tail 'tall,<br /></span>
+<span class="i0">'Cep' a liddle bunch o' hair.<br /></span>
+</div><div class="stanza">
+<span class="i0">De gobbler's got a big fan tail,<br /></span>
+<span class="i0">De pattridge's tail is small;<br /></span>
+<span class="i0">Dat peacock's tail 's got great big eyes,<br /></span>
+<span class="i0">But dey don't see nothin' 'tall.<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5>CAPTAIN DIME</h5>
+
+<div class="stanza">
+<span class="i0">Cappun Dime is a fine w'ite man.<br /></span>
+<span class="i0">He wash his face in a fry'n' pan,<br /></span>
+<span class="i0">He comb his head wid a waggin wheel,<br /></span>
+<span class="i0">An' he die wid de toothache in his heel.<br /></span>
+</div><div class="stanza">
+<span class="i0">Cappun Dime is a mighty fine feller,<br /></span>
+<span class="i0">An' he sh&#333;' play kyards wid de Niggers in de cellar,<br /></span>
+<span class="i0">But he will git drunk, an' he won't smoke a pipe,<br /></span>
+<span class="i0">Den he will pull de watermillions 'fore dey gits ripe.<br /></span>
+</div></div>
+
+<p><!-- Page 6 --><span class='pagenum'><a name="Page_6" id="Page_6">[Pg 6]</a></span></p>
+
+<div class="poem">
+
+<h5>CROSSING THE RIVER</h5>
+
+<div class="stanza">
+<span class="i0">I went down to de river an' I couldn' git 'cross.<br /></span>
+<span class="i0">I jumped on er mule an' I thought 'e wus er hoss.<br /></span>
+<span class="i0">Dat mule 'e wa'k in an' git mired up in de san';<br /></span>
+<span class="i0">You'd oughter see'd dis Nigger make back fer de lan'!<br /></span>
+</div><div class="stanza">
+<span class="i0">I want to cross de river but I caint git 'cross;<br /></span>
+<span class="i0">So I mounted on a ram, fer I thought 'e wus er hoss.<br /></span>
+<span class="i0">I plunged him in, but he sorter fail to swim;<br /></span>
+<span class="i0">An' I give five dollars fer to git 'im out ag'in.<br /></span>
+</div><div class="stanza">
+<span class="i0">Yes, I went down to de river an' I couldn' git 'cross,<br /></span>
+<span class="i0">So I give a whole dollar fer a ole blin' hoss;<br /></span>
+<span class="i0">Den I souzed him in an' he sink 'stead o' swim.<br /></span>
+<span class="i0">Do you know I got wet clean to my ole hat brim?<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5>T-U-TURKEY</h5>
+
+<div class="stanza">
+<span class="i0">T-u, tucky, T-u, ti.<br /></span>
+<span class="i0">T-u, tucky, buzzard's eye.<br /></span>
+<span class="i0">T-u, tucky, T-u, ting.<br /></span>
+<span class="i0">T-u, tucky, buzzard's wing.<br /></span>
+<span class="i0">Oh, Mistah Washin'ton! Don't whoop me,<br /></span>
+<span class="i0">Whoop dat Nigger Back 'hind dat tree.<br /></span>
+<!-- Page 7 --><span class='pagenum'><a name="Page_7" id="Page_7">[Pg 7]</a></span><span class="i0">He stole tucky, I didn' steal none.<br /></span>
+<span class="i0">Go wuk him in de co'n field jes fer fun.<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5>CHICKEN IN THE BREAD TRAY</h5>
+
+<div class="stanza">
+<span class="i0">"Auntie, will y&#333;' dog bite?"&mdash;<br /></span>
+<span class="i2">"No, Chile! No!"<br /></span>
+<span class="i0">Chicken in de bread tray<br /></span>
+<span class="i2">A makin' up dough.<br /></span>
+</div><div class="stanza">
+<span class="i0">"Auntie, will y&#333;' broom hit?"&mdash;<br /></span>
+<span class="i2">"Yes, Chile!" Pop!<br /></span>
+<span class="i0">Chicken in de bread tray;<br /></span>
+<span class="i2">"Flop! Flop! Flop!"<br /></span>
+</div><div class="stanza">
+<span class="i0">"Auntie, will y&#333;' oven bake?"&mdash;<br /></span>
+<span class="i2">"Yes. Jes fry!"&mdash;<br /></span>
+<span class="i0">"What's dat chicken good fer?"&mdash;<br /></span>
+<span class="i2">"Pie! Pie! Pie!"<br /></span>
+</div><div class="stanza">
+<span class="i0">"Auntie, is y&#333;' pie good?"&mdash;<br /></span>
+<span class="i2">"Good as you could 'spec'."<br /></span>
+<span class="i0">Chicken in de bread tray;<br /></span>
+<span class="i2">"Peck! Peck! Peck!"<br /></span>
+</div></div>
+
+<p><!-- Page 8 --><span class='pagenum'><a name="Page_8" id="Page_8">[Pg 8]</a></span></p>
+
+<div class="poem">
+
+<h5>MOLLY COTTONTAIL, OR, GRAVEYARD RABBIT</h5>
+
+<div class="stanza">
+<span class="i0">Ole Molly Cottontail,<br /></span>
+<span class="i0">At night, w'en de moon's pale;<br /></span>
+<span class="i0">You don't fail to tu'n tail,<br /></span>
+<span class="i0">You always gives me leg bail.<a name="FNanchor_2_2" id="FNanchor_2_2"></a><a href="#Footnote_2_2" class="fnanchor">[2]</a><br /></span>
+</div><div class="stanza">
+<span class="i0">Molly in de Bramble-brier,<br /></span>
+<span class="i0">Let me git a little nigher;<br /></span>
+<span class="i0">Prickly-pear, it sting lak fire!<br /></span>
+<span class="i0">Do please come pick out de brier!<br /></span>
+</div><div class="stanza">
+<span class="i0">Molly in de pale moonlight,<br /></span>
+<span class="i0">Y&#333;' tail is sh&#333; a pretty white;<br /></span>
+<span class="i0">You takes it fer 'way out'n sight.<br /></span>
+<span class="i0">"Molly! Molly! Molly Bright!"<br /></span>
+</div><div class="stanza">
+<span class="i0">Ole Molly Cottontail,<br /></span>
+<span class="i0">You sets up on a rotten rail!<br /></span>
+<span class="i0">You tears through de graveyard!<br /></span>
+<span class="i0">You makes dem ugly <a name="FNanchor_3_3" id="FNanchor_3_3"></a><a href="#Footnote_3_3" class="fnanchor">[3]</a>hants wail.<br /></span>
+</div><div class="stanza">
+<span class="i0">Ole Molly Cottontail,<br /></span>
+<span class="i0">Won't you be shore not to fail<br /></span>
+<span class="i0"><a name="FNanchor_4_4" id="FNanchor_4_4"></a><a href="#Footnote_4_4" class="fnanchor">[4]</a>To give me y&#333;' right h&#299;n' foot?<br /></span>
+<span class="i0">My luck, it won't be fer sale.<br /></span>
+</div></div>
+
+<div class="footnotes">
+<div class="footnote"><p><a name="Footnote_2_2" id="Footnote_2_2"></a><a href="#FNanchor_2_2"><span class="label">[2]</span></a> Leg bail = to run away.</p></div>
+<div class="footnote"><p><a name="Footnote_3_3" id="Footnote_3_3"></a><a href="#FNanchor_3_3"><span class="label">[3]</span></a> Hants = ghosts or spirits.</p></div>
+<div class="footnote"><p><a name="Footnote_4_4" id="Footnote_4_4"></a><a href="#FNanchor_4_4"><span class="label">[4]</span></a> This embraces the old superstition that carrying in
+one's pocket the right hind foot of a rabbit, which has
+habitually lived about a cemetery, brings good luck to its
+possessor.</p></div>
+</div>
+
+<p><!-- Page 9 --><span class='pagenum'><a name="Page_9" id="Page_9">[Pg 9]</a></span></p>
+
+<div class="poem">
+
+<h5><a name="FNanchor_5_5" id="FNanchor_5_5"></a>
+<a href="#Footnote_5_5" class="fnanchor">[5]</a>JUBA</h5>
+
+<div class="stanza">
+<span class="i0">Juba dis, an' Juba dat,<br /></span>
+<span class="i0">Juba <a name="FNanchor_6_6" id="FNanchor_6_6"></a><a href="#Footnote_6_6" class="fnanchor">[6]</a>skin dat Yaller Cat. Juba! Juba!<br /></span>
+</div><div class="stanza">
+<span class="i0">Juba jump an' Juba sing.<br /></span>
+<span class="i0">Juba, <a href="#Footnote_6_6" class="fnanchor">[6]</a>cut dat Pigeon's Wing. Juba! Juba!<br /></span>
+</div><div class="stanza">
+<span class="i0">Juba, kick off Juba's shoe.<br /></span>
+<span class="i0">Juba, dance dat <a href="#Footnote_6_6" class="fnanchor">[6]</a>Jubal Jew. Juba! Juba!<br /></span>
+</div><div class="stanza">
+<span class="i0">Juba, whirl dat foot about.<br /></span>
+<span class="i0">Juba, blow dat candle out. Juba! Juba!<br /></span>
+</div><div class="stanza">
+<span class="i0">Juba circle, <a href="#Footnote_6_6" class="fnanchor">[6]</a>Raise de Latch.<br /></span>
+<span class="i0">Juba do dat <a href="#Footnote_6_6" class="fnanchor">[6]</a>Long Dog Scratch. Juba! Juba!<br /></span>
+</div></div>
+
+<div class="footnotes">
+<div class="footnote"><p><a name="Footnote_5_5" id="Footnote_5_5"></a><a href="#FNanchor_5_5"><span class="label">[5]</span></a> This peculiar kind of dance rhyme is explained in the Study
+in Negro Folk Rhymes.</p></div>
+
+<div class="footnote"><p><a name="Footnote_6_6" id="Footnote_6_6"></a><a href="#FNanchor_6_6">
+<span class="label">[6]</span></a> The expressions
+<ins class="correction" title="original reads: marked &#8225;">marked [6]</ins> are various kinds of dance
+steps.</p></div>
+</div>
+
+<p><!-- Page 10 --><span class='pagenum'><a name="Page_10" id="Page_10">[Pg 10]</a></span></p>
+
+<div class="poem">
+
+<h5>ON TOP OF THE POT</h5>
+
+<div class="stanza">
+<span class="i0">Wild goose gallop an' gander trot;<br /></span>
+<span class="i0">Walk about, Mistiss, on top o' de pot!<br /></span>
+</div><div class="stanza">
+<span class="i0">Hog jowl bilin', an' tunnup greens hot,<br /></span>
+<span class="i0">Walk about, Billie, on top o' de pot!<br /></span>
+</div><div class="stanza">
+<span class="i0">Chitlins, hog years, all on de spot,<br /></span>
+<span class="i0">Walk about, ladies, on top o' de pot!<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5><a name="FNanchor_7_7" id="FNanchor_7_7"></a><a href="#Footnote_7_7" class="fnanchor">[7]</a>
+STAND BACK, BLACK MAN</h5>
+
+<div class="stanza">
+<span class="i0"><i>Oh!</i><br /></span>
+<span class="i2">Stan' back, black man,<br /></span>
+<span class="i2">You cain't shine;<br /></span>
+<span class="i2">Y&#333;' lips is too thick,<br /></span>
+<span class="i2">An' you hain't my k&#299;n'.<br /></span>
+</div><div class="stanza">
+<!-- Page 11 --><span class='pagenum'><a name="Page_11" id="Page_11">[Pg 11]</a></span>
+<span class="i0"><i>Aw!</i><br /></span>
+<span class="i2">Git 'way, black man,<br /></span>
+<span class="i2">You jes haint fine;<br /></span>
+<span class="i2">I'se done quit foolin'<br /></span>
+<span class="i2">Wid de nappy-headed kind.<br /></span>
+</div><div class="stanza">
+<span class="i0"><i>Say?</i><br /></span>
+<span class="i2">Stan' back, black man!<br /></span>
+<span class="i2">Cain't you see<br /></span>
+<span class="i2">Dat a kinky-headed chap<br /></span>
+<span class="i2">Hain't nothin' side o' me?<br /></span>
+</div></div>
+
+<div class="footnotes">
+<div class="footnote"><p><a name="Footnote_7_7" id="Footnote_7_7"></a><a href="#FNanchor_7_7"><span class="label">[7]</span></a> In a few places in the South, just following the Civil War,
+the Mulattoes organized themselves into a little guild known as "The
+Blue Vein Circle," from which those who were black were excluded. This
+is one of their rhymes.</p></div>
+</div>
+
+<div class="poem">
+
+<h5>NEGROES NEVER DIE</h5>
+
+<div class="stanza">
+<span class="i0">Nigger! Nigger never die!<br /></span>
+<span class="i0">He gits choked on Chicken pie.<br /></span>
+<span class="i0">Black face, white shiny eye. Nigger! Nigger!<br /></span>
+</div><div class="stanza">
+<span class="i0">Nigger! Nigger never knows!<br /></span>
+<span class="i0">Mashed nose, an' crooked toes;<br /></span>
+<span class="i0">Dat's de way de Nigger goes. Nigger! Nigger!<br /></span>
+</div><div class="stanza">
+<span class="i0">Nigger! Nigger always sing;<br /></span>
+<span class="i0">Jump up, cut de Pidgeon's wing;<br /></span>
+<span class="i0">Whirl, an' give his feet a fling. Nigger! Nigger!<br /></span>
+</div></div>
+
+<p><!-- Page 12 --><span class='pagenum'><a name="Page_12" id="Page_12">[Pg 12]</a></span></p>
+
+<div class="poem">
+
+<h5>JAWBONE</h5>
+
+<div class="stanza">
+<span class="i0">Samson, shout! Samson, moan!<br /></span>
+<span class="i0">Samson, bring on y&#333;' Jawbone.<br /></span>
+</div><div class="stanza">
+<span class="i0">Jawbone, walk! Jawbone, talk!<br /></span>
+<span class="i0">Jawbone, eat wid a knife an fo'k.<br /></span>
+</div><div class="stanza">
+<span class="i0">Walk, Jawbone! Jinny, come alon'!<br /></span>
+<span class="i0">Yon'er goes Sally wid de bootees on.<br /></span>
+</div><div class="stanza">
+<span class="i0">Jawbone, ring! Jawbone, sing!<br /></span>
+<span class="i0">Jawbone, kill dat wicked thing.<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5>INDIAN FLEA</h5>
+
+<div class="stanza">
+<span class="i0">Injun flea, bit my knee;<br /></span>
+<span class="i0">Kaze I wouldn' drink ginger tea.<br /></span>
+</div><div class="stanza">
+<span class="i0">Flea bite hard, flea bite quick;<br /></span>
+<span class="i0">Flea bite burn lak dat seed tick.<br /></span>
+</div><div class="stanza">
+<span class="i0">Hit dat flea, flea not dere.<br /></span>
+<span class="i0">I'se so mad I pulls my hair.<br /></span>
+</div><div class="stanza">
+<span class="i0">I go wild an' fall in de creek.<br /></span>
+<span class="i0">To wash 'im off, I'd stay a week.<br /></span>
+</div></div>
+
+<p><!-- Page 13 --><span class='pagenum'><a name="Page_13" id="Page_13">[Pg 13]</a></span></p>
+
+<div class="poem">
+
+<h5>AS I WENT TO SHILOH</h5>
+
+<div class="stanza">
+<span class="i0">As I went down<br /></span>
+<span class="i0">To Shiloh Town;<br /></span>
+<span class="i0">I rolled my barrel of Sogrum down.<br /></span>
+<span class="i0">Dem lasses rolled;<br /></span>
+<span class="i0">An' de hoops, dey bust;<br /></span>
+<span class="i0">An' blowed dis Nigger clear to Thundergust!<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5>JUMP JIM CROW</h5>
+
+<div class="stanza">
+<span class="i0">Git fus upon y&#333;' heel,<br /></span>
+<span class="i0">An' den upon y&#333;' toe;<br /></span>
+<span class="i0">An ebry time you tu'n 'round,<br /></span>
+<span class="i0">You jump Jim Crow.<br /></span>
+</div><div class="stanza">
+<span class="i0">Now fall upon y&#333;' knees,<br /></span>
+<span class="i0">Jump up an' bow low;<br /></span>
+<span class="i0">An' ebry time you tu'n 'round,<br /></span>
+<span class="i0">You jump Jim Crow.<br /></span>
+</div><div class="stanza">
+<span class="i0">Put y&#333;' han's upon y&#333;' hips,<br /></span>
+<span class="i0">Bow low to y&#333;' beau;<br /></span>
+<span class="i0">An' ebry time you tu'n 'round,<br /></span>
+<span class="i0">You jump Jim Crow.<br /></span>
+</div></div>
+
+<p><!-- Page 14 --><span class='pagenum'><a name="Page_14" id="Page_14">[Pg 14]</a></span></p>
+
+<h3>Dance Rhyme Song Section</h3>
+
+<div class="figcenter" style="width: 450px;">
+<img src="images/jaybird.png" width="450" height="480" alt="Jaybird Musical Notation" title="" />
+</div>
+
+<p class="center"><a href="music/029-jaybird.midi">[Listen]</a></p>
+
+<div class="poem">
+
+<h5>JAYBIRD</h5>
+
+<div class="stanza">
+<span class="i0">De Jaybird jump from lim' to lim',<br /></span>
+<span class="i0">An' he tell Br'er Rabbit to do lak him.<br /></span>
+<!-- Page 15 --><span class='pagenum'><a name="Page_15" id="Page_15">[Pg 15]</a></span><span class="i0">Br'er Rabbit say to de cunnin' elf:<br /></span>
+<span class="i0">"You jes want me to fall an' kill myself."<br /></span>
+</div><div class="stanza">
+<span class="i0">Dat Jaybird a-settin' on a swingin' lim'.<br /></span>
+<span class="i0">He wink at me an' I wink at him.<br /></span>
+<span class="i0">He laugh at me w'en my gun "crack."<br /></span>
+<span class="i0">It kick me down on de flat o' my back.<br /></span>
+</div><div class="stanza">
+<span class="i0">Nex' day de Jaybird dance dat lim'.<br /></span>
+<span class="i0">I grabs my gun fer to shoot at him.<br /></span>
+<span class="i0">W'en I "crack" down, it split my chin.<br /></span>
+<span class="i0">"Ole Aggie Cunjer" fly lak sin.<br /></span>
+</div><div class="stanza">
+<span class="i0">Way down yon'er at de risin' sun,<br /></span>
+<span class="i0">Jaybird a-talkin' wid a forked tongue.<br /></span>
+<span class="i0"><a name="FNanchor_8_8" id="FNanchor_8_8"></a><a href="#Footnote_8_8" class="fnanchor">[8]</a>He's been down dar whar de bad mens dwell.<br /></span>
+<span class="i0">"Ole Friday Devil," fare&mdash;you&mdash;well!<br /></span>
+</div></div>
+
+<div class="footnotes">
+<div class="footnote"><p><a name="Footnote_8_8" id="Footnote_8_8"></a><a href="#FNanchor_8_8"><span class="label">[8]</span></a> A superstition. For explanation, see Study in Negro Folk
+Rhymes.</p></div>
+</div>
+
+<div class="poem">
+
+<h5>OFF FROM RICHMOND</h5>
+
+<div class="stanza">
+<span class="i0">I'se off from Richmon' sooner in de mornin'.<br /></span>
+<span class="i0">I'se off from Richmon' bef&#333;' de break o' day.<br /></span>
+<span class="i0">I slips off from Mosser widout pass an' warnin'<br /></span>
+<span class="i0">Fer I mus' see my Donie wharever she may stay.<br /></span>
+</div></div>
+
+<p><!-- Page 16 --><span class='pagenum'><a name="Page_16" id="Page_16">[Pg 16]</a></span></p>
+
+<div class="poem">
+
+<h5>HE IS MY HORSE</h5>
+
+<div class="stanza">
+<span class="i0">One day as I wus a-ridin' by,<br /></span>
+<span class="i0">Said dey: "Ole man, y&#333;' hoss will die"&mdash;<br /></span>
+<span class="i2">"If he dies, he is my loss;<br /></span>
+<span class="i2">An' if he lives, he is my hoss."<br /></span>
+</div><div class="stanza">
+<span class="i0">Nex' day w'en I come a-ridin' by,<br /></span>
+<span class="i0">Dey said: "Ole man, y&#333;' hoss may die."&mdash;<br /></span>
+<span class="i2">"If he dies, I'll tan 'is skin;<br /></span>
+<span class="i2">An' if he lives, I'll ride 'im ag'in."<br /></span>
+</div><div class="stanza">
+<span class="i0">Den ag'in w'en I come a-ridin' by,<br /></span>
+<span class="i0">Said dey: "Ole man, y&#333;' hoss mought die."&mdash;<br /></span>
+<span class="i2">"If he dies, I'll eat his co'n;<br /></span>
+<span class="i2">An' if he lives, I'll ride 'im on."<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5><a name="FNanchor_9_9" id="FNanchor_9_9"></a><a href="#Footnote_9_9" class="fnanchor">[9]</a>
+JUDGE BUZZARD</h5>
+
+<div class="stanza">
+<span class="i0">Dere sets Jedge Buzzard on de Bench.<br /></span>
+<span class="i0">Go tu'n him off wid a monkey wrench!<br /></span>
+<span class="i0">Jedge Buzzard try Br'er Rabbit's case;<br /></span>
+<span class="i0">An' he say Br'er Tarepin win dat race.<br /></span>
+<span class="i0">Here sets Jedge Buzzard on de Bench.<br /></span>
+<span class="i0">Knock him off wid dat monkey wrench!<br /></span>
+</div></div>
+
+<div class="footnotes">
+<div class="footnote"><p><a name="Footnote_9_9" id="Footnote_9_9"></a><a href="#FNanchor_9_9">
+<span class="label">[9]</span></a> See Study in Negro Rhymes for explanation.</p></div>
+</div>
+
+<p><!-- Page 17 --><span class='pagenum'><a name="Page_17" id="Page_17">[Pg 17]</a></span></p>
+
+<div class="poem">
+
+<h5>SHEEP AND GOAT</h5>
+
+<div class="stanza">
+<span class="i0">Sheep an' goat gwine to de paster;<br /></span>
+<span class="i0">Says de goat to de sheep: "Cain't you walk a liddle faster?"<br /></span>
+</div><div class="stanza">
+<span class="i0">De sheep says: "I cain't, I'se a liddle too full."<br /></span>
+<span class="i0">Den de goat say: "You can wid my ho'ns in y&#333;' wool."<br /></span>
+</div><div class="stanza">
+<span class="i0">But de goat fall down an' skin 'is shin<br /></span>
+<span class="i0">An' de sheep split 'is lip wid a big broad grin.<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5>JACKSON, PUT THAT KETTLE ON!</h5>
+
+<div class="stanza">
+<span class="i0">Jackson, put dat kittle on!<br /></span>
+<span class="i0">Fire, steam dat coffee done!<br /></span>
+<span class="i0">Day done broke, an' I got to run<br /></span>
+<span class="i0">Fer to meet my gal by de risin' sun.<br /></span>
+</div><div class="stanza">
+<span class="i0">My ole Mosser say to me,<br /></span>
+<span class="i0">Dat I mus' drink <a name="FNanchor_10_10" id="FNanchor_10_10"></a><a href="#Footnote_10_10" class="fnanchor">[10]</a>sassfac tea;<br /></span>
+<span class="i0">But Jackson stews dat coffee done,<br /></span>
+<span class="i0">An' he sh&#333;' gits his po'tion: Son!<br /></span>
+</div></div>
+
+<div class="footnotes">
+<div class="footnote"><p><a name="Footnote_10_10" id="Footnote_10_10"></a><a href="#FNanchor_10_10"><span class="label">[10]</span></a> Sassfac = sassafras.</p></div>
+</div>
+
+<p><!-- Page 18 --><span class='pagenum'><a name="Page_18" id="Page_18">[Pg 18]</a></span></p>
+
+<div class="poem">
+
+<h5>DINAH'S DINNER HORN</h5>
+
+<div class="stanza">
+<span class="i0">It's a c&#333;l', frosty mornin',<br /></span>
+<span class="i0">An' de Niggers goes to wo'k;<br /></span>
+<span class="i0">Wid deir axes on deir shoulders,<br /></span>
+<span class="i0">An' widout a bit o' <a name="FNanchor_11_11" id="FNanchor_11_11"></a><a href="#Footnote_11_11" class="fnanchor">[11]</a>shu't.<br /></span>
+</div><div class="stanza">
+<span class="i0">Dey's got ole husky ashcake,<br /></span>
+<span class="i0">Widout a bit o' fat;<br /></span>
+<span class="i0">An' de white folks'll grumble,<br /></span>
+<span class="i0">If you eats much o' dat.<br /></span>
+</div><div class="stanza">
+<span class="i0">I runs down to de henhouse,<br /></span>
+<span class="i0">An' I falls upon my knees;<br /></span>
+<span class="i0">It's 'nough to make a rabbit laugh<br /></span>
+<span class="i0">To hear my tucky sneeze.<br /></span>
+</div><div class="stanza">
+<span class="i0">I grows up on dem meatskins,<br /></span>
+<span class="i0">I comes down on a bone;<br /></span>
+<span class="i0">I hits dat co'n bread fifty licks,<br /></span>
+<span class="i0">I makes dat butter moan.<br /></span>
+</div><div class="stanza">
+<span class="i0">It's glory in y&#333;' honor!<br /></span>
+<span class="i0">An' don't you want to go?<br /></span>
+<span class="i0">I sholy will be ready<br /></span>
+<span class="i0">Fer dat dinnah ho'n to blow.<br /></span>
+</div><div class="stanza">
+<!-- Page 19 --><span class='pagenum'><a name="Page_19" id="Page_19">[Pg 19]</a></span><span class="i0">Dat ole bell, it goes "Bangity&mdash;bang!"<br /></span>
+<span class="i0">Fer all dem white folks bo'n.<br /></span>
+<span class="i0">But I'se not ready fer to go<br /></span>
+<span class="i0">Till Dinah blows her ho'n.<br /></span>
+</div><div class="stanza">
+<span class="i0">"Poke&mdash;sallid!" "Poke&mdash;sallid!"<br /></span>
+<span class="i0">Dat ole ho'n up an' blow.<br /></span>
+<span class="i0">Jes think about dem good ole greens!<br /></span>
+<span class="i0">Say? Don't you want to go?<br /></span>
+</div></div>
+
+<div class="footnotes">
+<div class="footnote"><p><a name="Footnote_11_11" id="Footnote_11_11"></a><a href="#FNanchor_11_11"><span class="label">[11]</span></a> Shu't = shirt.</p></div>
+</div>
+
+<div class="poem">
+
+<h5>MY MULE</h5>
+
+<div class="stanza">
+<span class="i0">Las' Saddy mornin' Mosser said:<br /></span>
+<span class="i0">"Jump up now, Sambo, out'n bed.<br /></span>
+<span class="i0">Go saddle dat mule, an' go to town;<br /></span>
+<span class="i0">An' bring home Mistiss' mornin' gown."<br /></span>
+</div><div class="stanza">
+<span class="i0">I saddled dat mule to go to town.<br /></span>
+<span class="i0">I mounted up an' he buck'd me down.<br /></span>
+<span class="i0">Den I jumped up from out'n de dust,<br /></span>
+<span class="i0">An' I rid him till I thought he'd bust.<br /></span>
+</div></div>
+
+<p><!-- Page 20 --><span class='pagenum'><a name="Page_20" id="Page_20">[Pg 20]</a></span></p>
+
+<div class="poem">
+
+<h5>BULLFROG PUT ON THE SOLDIER CLOTHES</h5>
+
+<div class="stanza">
+<span class="i0">Bullfrog put on de soldier clo's.<br /></span>
+<span class="i0">He went down yonder fer to shoot at de crows;<br /></span>
+<span class="i0">Wid a knife an' a fo'k between 'is toes,<br /></span>
+<span class="i0">An' a white hankcher fer to wipe 'is nose.<br /></span>
+</div><div class="stanza">
+<span class="i0">Bullfrog put on de soldier clo's.<br /></span>
+<span class="i0">He's a "dead shore shot," gwineter kill dem <ins class="correction" title="original had close quote after crows.">crows.</ins><br /></span>
+<span class="i0">He takes "Pot," an' "Skillet" from de Fiddler's Ball.<br /></span>
+<span class="i0">Dey're to dance a liddle jig while Jim Crow fall.<br /></span>
+</div><div class="stanza">
+<span class="i0">Bullfrog put on de soldier clo's.<br /></span>
+<span class="i0">He went down de river fer to shoot at de crows.<br /></span>
+<span class="i0">De powder flash, an' de crows fly 'way;<br /></span>
+<span class="i0">An' de Bullfrog shoot at 'em all nex' day.<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5>SAIL AWAY, LADIES!</h5>
+
+<div class="stanza">
+<span class="i0">Sail away, ladies! Sail away!<br /></span>
+<span class="i0">Sail away, ladies! Sail away!<br /></span>
+<span class="i0">Nev' min' what dem white folks say,<br /></span>
+<span class="i0">May de Mighty bless you. Sail away!<br /></span>
+</div><div class="stanza">
+<!-- Page 21 --><span class='pagenum'><a name="Page_21" id="Page_21">[Pg 21]</a></span><span class="i0">Nev' min' what y&#333;' daddy say,<br /></span>
+<span class="i0">Shake y&#333;' liddle foot an' fly away.<br /></span>
+<span class="i0">Nev' min' if y&#333;' mammy say:<br /></span>
+<span class="i0">"De Devil'll git you." Sail away!<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5>THE BANJO PICKING</h5>
+
+<div class="stanza">
+<span class="i0">Hush boys! Hush boys! Don't make a noise,<br /></span>
+<span class="i0">While ole Mosser's sleepin'.<br /></span>
+<span class="i0">We'll run down de Graveyard, an' take out de bones,<br /></span>
+<span class="i0">An' have a liddle Banjer pickin'.<br /></span>
+</div><div class="stanza">
+<span class="i0">I takes my Banjer on a Sunday mornin'.<br /></span>
+<span class="i0">Dem ladies, dey 'vites me to come.<br /></span>
+<span class="i0">We slips down de hill an' picks de liddle chune:<br /></span>
+<span class="i0">"Walk, Tom Wilson Here Afternoon."<br /></span>
+</div><div class="stanza">
+<span class="i0"><a name="FNanchor_12_12" id="FNanchor_12_12"></a><a href="#Footnote_12_12" class="fnanchor">[12]</a>"Walk Tom Wilson Here Afternoon";<br /></span>
+<span class="i0">"You Cain't Dance Lak ole Zipp Coon."<br /></span>
+<span class="i0">Pick <a href="#Footnote_12_12" class="fnanchor">[12]</a>"Dinah's Dinner Ho'n" "Dance 'Round de Room."<br /></span>
+<span class="i0">"Sweep dat Kittle Wid a Bran' New Broom."<br /></span>
+</div></div>
+
+<div class="footnotes">
+<div class="footnote"><p><a name="Footnote_12_12" id="Footnote_12_12"></a><a href="#FNanchor_12_12"><span class="label">[12]</span></a>
+Those <ins class="correction" title="original reads: starred">marked [12]</ins> are found elsewhere in this volume. We were
+unable to obtain the other three.</p></div>
+</div>
+
+<p><!-- Page 22 --><span class='pagenum'><a name="Page_22" id="Page_22">[Pg 22]</a></span></p>
+
+<div class="poem">
+
+<h5>OLD MOLLY HARE</h5>
+
+<div class="stanza">
+<span class="i0">Ole Molly har'!<br /></span>
+<span class="i0">What's you doin' thar?<br /></span>
+<span class="i0">"I'se settin' in de fence corner, smokin' seegyar."<br /></span>
+</div><div class="stanza">
+<span class="i0">Ole Molly har'!<br /></span>
+<span class="i0">What's you doin' thar?<br /></span>
+<span class="i0">"I'se pickin' out a br'or, settin' on a Pricky-p'ar."<br /></span>
+</div><div class="stanza">
+<span class="i0">Ole Molly har'!<br /></span>
+<span class="i0">What's you doin' thar?<br /></span>
+<span class="i0">"I'se gwine cross de Cotton Patch, hard as I can t'ar."<br /></span>
+</div><div class="stanza">
+<span class="i0">Molly har' to-day,<br /></span>
+<span class="i0">So dey all say,<br /></span>
+<span class="i0">Got her pipe o' clay, jes to smoke de time 'way.<br /></span>
+</div><div class="stanza">
+<span class="i0">"De dogs say 'boo!'<br /></span>
+<span class="i0">An' dey barks too,<br /></span>
+<span class="i0">I hain't got no time fer to talk to you."<br /></span>
+</div></div>
+
+<p><!-- Page 23 --><span class='pagenum'><a name="Page_23" id="Page_23">[Pg 23]</a></span></p>
+
+<h5>ONE NEGRO TUNE USED WITH "AN OPOSSUM HUNT"</h5>
+
+<div class="figcenter" style="width: 450px;">
+<img src="images/opossum.png" width="450" height="397" alt="An Opossum Hunt Musical Notation" title="" />
+</div>
+<p class="center"><a href="music/038-opossum.midi">[Listen]</a></p>
+
+<div class="poem">
+
+<h5>AN OPOSSUM HUNT</h5>
+
+<div class="stanza">
+<span class="i0">'Possum meat is good an' sweet,<br /></span>
+<span class="i0">I always finds it good to eat.<br /></span>
+<span class="i0">My dog tree, I went to see.<br /></span>
+<span class="i0">A great big 'possum up dat tree.<br /></span>
+<span class="i0">I retch up an' pull him in,<br /></span>
+<span class="i0">Den dat ole 'possum 'gin to grin.<br /></span>
+</div><div class="stanza">
+<!-- Page 24 --><span class='pagenum'><a name="Page_24" id="Page_24">[Pg 24]</a></span><span class="i0">I tuck him home an' dressed him off,<br /></span>
+<span class="i0">Dat night I laid him in de fros'.<br /></span>
+<span class="i0">De way I cooked dat 'possum sound,<br /></span>
+<span class="i0">I fust parboiled, den baked him brown.<br /></span>
+<span class="i0">I put sweet taters in de pan,<br /></span>
+<span class="i0">'Twus de bigges' eatin' in de lan'.<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5>DEVILISH PIGS</h5>
+
+<div class="stanza">
+<span class="i0">I wish I had a load o' poles,<br /></span>
+<span class="i0">To fence my new-groun' lot;<br /></span>
+<span class="i0">To keep dem liddle bitsy debblish pigs<br /></span>
+<span class="i0">Frum a-rootin' up all I'se got.<br /></span>
+</div><div class="stanza">
+<span class="i0">Dey roots my cabbage, roots my co'n;<br /></span>
+<span class="i0">Dey roots up all my beans.<br /></span>
+<span class="i0">Dey speilt my fine sweet-tater patch,<br /></span>
+<span class="i0">An' dey ruint my tunnup greens.<br /></span>
+</div><div class="stanza">
+<span class="i0">I'se rund dem pigs, an' I'se rund dem pigs.<br /></span>
+<span class="i0">I'se gittin' mighty hot;<br /></span>
+<span class="i0">An' one dese days w'en nobody look,<br /></span>
+<span class="i0">Dey'll root 'round in my pot.<br /></span>
+</div></div>
+
+<p><!-- Page 25 --><span class='pagenum'><a name="Page_25" id="Page_25">[Pg 25]</a></span></p>
+
+<div class="poem">
+
+<h5>PROMISES OF FREEDOM</h5>
+
+<div class="stanza">
+<span class="i0">My ole Mistiss promise me,<br /></span>
+<span class="i0">W'en she died, she'd set me free.<br /></span>
+<span class="i0">She lived so long dat 'er head got bal',<br /></span>
+<span class="i0">An' she give out'n de notion a dyin' at all.<br /></span>
+</div><div class="stanza">
+<span class="i0">My ole Mistiss say to me:<br /></span>
+<span class="i0">"Sambo, I'se gwine ter set you free."<br /></span>
+<span class="i0">But w'en dat head git slick an' bal',<br /></span>
+<span class="i0">De Lawd couldn' a' killed 'er wid a big green maul.<br /></span>
+</div><div class="stanza">
+<span class="i0">My ole Mistiss never die,<br /></span>
+<span class="i0">Wid 'er nose all hooked an' skin all dry.<br /></span>
+<span class="i0">But my ole Miss, she's somehow gone,<br /></span>
+<span class="i0">An' she lef' "Uncle Sambo" a-hillin' up co'n.<br /></span>
+</div><div class="stanza">
+<span class="i0">Ole Mosser lakwise promise me,<br /></span>
+<span class="i0">W'en he died, he'd set me free.<br /></span>
+<span class="i0">But ole Mosser go an' make his Will<br /></span>
+<span class="i0">Fer to leave me a-plowin' ole Beck still.<br /></span>
+</div><div class="stanza">
+<!-- Page 26 --><span class='pagenum'><a name="Page_26" id="Page_26">[Pg 26]</a></span><span class="i0">Yes, my ole Mosser promise me;<br /></span>
+<span class="i0">But "his papers" didn' leave me free.<br /></span>
+<span class="i0">A dose of pizen he'ped 'im along.<br /></span>
+<span class="i0">May de Devil preach 'is f&#363;ner'l song.<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5>WHEN MY WIFE DIES</h5>
+
+<div class="stanza">
+<span class="i0">W'en my wife dies, gwineter git me anudder one;<br /></span>
+<span class="i0">A big fat yaller one, jes lak de yudder one.<br /></span>
+<span class="i0">I'll hate mighty bad, w'en she's been gone.<br /></span>
+<span class="i0">Hain't no better 'oman never nowhars been bo'n.<br /></span>
+</div><div class="stanza">
+<span class="i0">W'en I comes to die, you mus'n' bury me deep,<br /></span>
+<span class="i0">But put Sogrum molasses close by my feet.<br /></span>
+<span class="i0">Put a pone o' co'n bread way down in my han'.<br /></span>
+<span class="i0">Gwineter sop on de way to de Promus' Lan'.<br /></span>
+</div><div class="stanza">
+<span class="i0">W'en I goes to die, Nobody mus'n' cry,<br /></span>
+<span class="i0">Mus'n' dress up in black, fer I mought come back.<br /></span>
+<span class="i0">But w'en I'se been dead, an' almos' fergotten;<br /></span>
+<span class="i0">You mought think about me an' keep on a-trottin'.<br /></span>
+</div><div class="stanza">
+<span class="i0">Railly, w'en I'se been dead, you needn' bury me at tall.<br /></span>
+<span class="i0">You mought pickle my bones down in alkihall;<br /></span>
+<span class="i0">Den fold my han's "so," right across my breas';<br /></span>
+<span class="i0">An' go an' tell de folks I'se done gone to "res'."<br /></span>
+</div></div>
+
+<p><!-- Page 27 --><span class='pagenum'><a name="Page_27" id="Page_27">[Pg 27]</a></span></p>
+
+<h5>ONE TUNE USED WITH "BAA! BAA! BLACK SHEEP!"</h5>
+
+<div class="figcenter" style="width: 450px;">
+<img src="images/blacksheep.png" width="450" height="452" alt="Baa Baa Black Sheep Musical Notation" title="" />
+</div>
+<p class="center"><a href="music/042-blacksheep.midi">[Listen]</a></p>
+
+<div class="poem">
+
+<h5>BAA! BAA! BLACK SHEEP</h5>
+
+<div class="stanza">
+<span class="i0">"Baa! Baa! Black Sheep,<br /></span>
+<span class="i0">Has you got wool?"<br /></span>
+<span class="i0">"Yes, good Mosser,<br /></span>
+<span class="i0">Free bags full.<br /></span>
+<span class="i0">One fer ole Mistis,<br /></span>
+<span class="i0">One fer Miss Dame,<br /></span>
+<!-- Page 28 --><span class='pagenum'><a name="Page_28" id="Page_28">[Pg 28]</a></span><span class="i0">An' one fer de good Nigger<br /></span>
+<span class="i0">Jes across de lane."<br /></span>
+<span class="i0">P&#333;&#333;r liddle Black Sheep,<br /></span>
+<span class="i0">P&#333;&#333;r liddle lammy;<br /></span>
+<span class="i0">P&#333;&#333;r liddle Black Sheep's<br /></span>
+<span class="i0">Got no mammy.<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5>HE WILL GET MR. COON</h5>
+
+<div class="stanza">
+<span class="i0">Ole Mistah Coon, at de break o' day,<br /></span>
+<span class="i0">You needn' think youse gwineter git 'way.<br /></span>
+<span class="i0">Caze ole man Ned, he know how to run,<br /></span>
+<span class="i0">An' he's sh&#333;' gone fer to git 'is gun.<br /></span>
+</div><div class="stanza">
+<span class="i0">You needn' clam to dat highes' lim',<br /></span>
+<span class="i0">You cain't git out'n de retch o' him.<br /></span>
+<span class="i0">You can stay up dar till de sun done set.<br /></span>
+<span class="i0">I'll bet you a dollar dat he'll git you yet.<br /></span>
+</div><div class="stanza">
+<span class="i0">Ole Mistah Coon, you'd well's to give up.<br /></span>
+<span class="i0">You had well's to give up, I say.<br /></span>
+<span class="i0">Caze ole man Ned is straight atter you,<br /></span>
+<span class="i0">An' he'll git you sh&#333;' this day.<br /></span>
+</div></div>
+
+<p><!-- Page 29 --><span class='pagenum'><a name="Page_29" id="Page_29">[Pg 29]</a></span></p>
+
+<div class="poem">
+
+<h5>BRING ON YOUR HOT CORN</h5>
+
+<div class="stanza">
+<span class="i0">Bring along y&#333;' hot co'n,<br /></span>
+<span class="i0">Bring along y&#333;' col' co'n;<br /></span>
+<span class="i0">But I say bring along,<br /></span>
+<span class="i0">Bring along y&#333;' <a name="FNanchor_13_13" id="FNanchor_13_13"></a><a href="#Footnote_13_13" class="fnanchor">[13]</a>Jimmy-john.<br /></span>
+</div><div class="stanza">
+<span class="i0">Some loves de hot co'n,<br /></span>
+<span class="i0">Some loves de col' co'n;<br /></span>
+<span class="i0">But I loves, I loves,<br /></span>
+<span class="i0">I loves dat Jimmy-john.<br /></span>
+</div></div>
+
+<div class="footnotes">
+<div class="footnote"><p><a name="Footnote_13_13" id="Footnote_13_13"></a><a href="#FNanchor_13_13"><span class="label">[13]</span></a> Jimmy-john = a whiskey jug.</p></div>
+</div>
+
+<div class="poem">
+
+<h5>THE LITTLE ROOSTER</h5>
+
+<div class="stanza">
+<span class="i0">I had a liddle rooster,<br /></span>
+<span class="i0">He crowed bef&#333;' day.<br /></span>
+<span class="i0">'Long come a big owl,<br /></span>
+<span class="i0"><ins class="correction" title="original reads: 'An">An'</ins> toted him away.<br /></span>
+</div><div class="stanza">
+<span class="i0">But de rooster fight hard,<br /></span>
+<span class="i0">An' de owl let him go.<br /></span>
+<span class="i0">Now all de pretty hens<br /></span>
+<span class="i0">Wants dat rooster fer deir beau.<br /></span>
+</div></div>
+
+<p><!-- Page 30 --><span class='pagenum'><a name="Page_30" id="Page_30">[Pg 30]</a></span></p>
+
+<div class="poem">
+
+<h5>SUGAR IN COFFEE</h5>
+
+<div class="stanza">
+<span class="i0">Sheep's in de meader a-mowin' o' de hay.<br /></span>
+<span class="i0">De honey's in de bee-gum, so dey all say.<br /></span>
+<span class="i0">My head's up an' I'se boun' to go.<br /></span>
+<span class="i0">Who'll take sugar in de coffee-o?<br /></span>
+</div><div class="stanza">
+<span class="i0">I'se de prettiest liddle gal in de county-o.<br /></span>
+<span class="i0">My mammy an' daddy, dey bofe say so.<br /></span>
+<span class="i0">I looks in de glass, it don't say, "No";<br /></span>
+<span class="i0">So I'll take sugar in de coffee-o.<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5><a name="FNanchor_14_14" id="FNanchor_14_14"></a><a href="#Footnote_14_14" class="fnanchor">[14]</a>
+THE TURTLE'S SONG</h5>
+
+<div class="stanza">
+<span class="i0">Mud turkle settin' on de end of a log,<br /></span>
+<span class="i0">A-watchin' of a tadpole a-turnin' to a frog.<br /></span>
+<span class="i0">He sees Br'er B'ar a-pullin' lak a mule.<br /></span>
+<span class="i0">He sees Br'er Tearpin a-makin' him a fool.<br /></span>
+</div><div class="stanza">
+<span class="i0">Br'er B'ar pull de rope an' he puff an' he blow;<br /></span>
+<span class="i0">But he cain't git de Tearpin out'n de water from below.<br /></span>
+<span class="i0">Dat big clay root is a-holdin' dat rope,<br /></span>
+<span class="i0">Br'er Tearpin's got 'im fooled, an' dere hain't no hope.<br /></span>
+</div><div class="stanza">
+<!-- Page 31 --><span class='pagenum'><a name="Page_31" id="Page_31">[Pg 31]</a></span>
+<span class="i0">Mud turkle settin' <ins class="correction" title="original reads: one">on</ins> de end o' dat log;<br /></span>
+<span class="i0">Sing fer de tadpole a-turnin' to a frog,<br /></span>
+<span class="i0">Sing to Br'er B'ar a-pullin' lak a mule,<br /></span>
+<span class="i0">Sing to Br'er Tearpin a-makin' 'im a fool:&mdash;<br /></span>
+</div><div class="stanza">
+<span class="i0">"Oh, Br'er Rabbit! Y&#333;' eyes mighty big!"<br /></span>
+<span class="i0">"Yes, Br'er Turkle! Dey're made fer to see."<br /></span>
+<span class="i0">"Oh, Br'er Tearpin! Y&#333;' house mighty cu'ous!"<br /></span>
+<span class="i0">"Yes, Br'er Turkle, but it jest suits me."<br /></span>
+</div><div class="stanza">
+<span class="i0">"Oh, Br'er B'ar! You pulls mighty stout."<br /></span>
+<span class="i0">"Yes, Br'er Turkle! Dat's right smart said!"<br /></span>
+<span class="i0">"Right, Br'er B'ar! Dat sounds bully good,<br /></span>
+<span class="i0">But you'd oughter git a liddle m&#333;' pull in de head."<br /></span>
+</div></div>
+
+<div class="footnotes">
+<div class="footnote"><p><a name="Footnote_14_14" id="Footnote_14_14"></a><a href="#FNanchor_14_14"><span class="label">[14]</span></a> For explanation see Study in Negro Folk Rhymes.</p></div>
+</div>
+
+<div class="poem">
+
+<h5>RACCOON AND OPOSSUM FIGHT</h5>
+
+<div class="stanza">
+<span class="i0">De raccoon an' de 'possum<br /></span>
+<span class="i0">Under de hill a-fightin';<br /></span>
+<span class="i0">Rabbit almos' bust his sides<br /></span>
+<span class="i0">Laughin' at de bitin'.<br /></span>
+</div><div class="stanza">
+<!-- Page 32 --><span class='pagenum'><a name="Page_32" id="Page_32">[Pg 32]</a></span><span class="i0">De raccoon claw de 'possum<br /></span>
+<span class="i0">Along de ribs an' head;<br /></span>
+<span class="i0">'Possum tumble over an' grin,<br /></span>
+<span class="i0">Playin' lak he been dead.<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5>COTTON EYED JOE</h5>
+
+<div class="stanza">
+<span class="i0">Hol' my fiddle an' hol' my bow,<br /></span>
+<span class="i0">Whilst I knocks ole Cotton Eyed Joe.<br /></span>
+</div><div class="stanza">
+<span class="i0">I'd a been dead some seben years ago,<br /></span>
+<span class="i0">If I hadn' a danced dat Cotton Eyed Joe.<br /></span>
+</div><div class="stanza">
+<span class="i0">Oh, it makes dem ladies love me so,<br /></span>
+<span class="i0">W'en I comes 'roun' pickin' ole Cotton Eyed Joe!<br /></span>
+</div><div class="stanza">
+<span class="i0">Yes, I'd a been married some forty year ago,<br /></span>
+<span class="i0">If I hadn' stay'd 'roun' wid Cotton Eyed Joe.<br /></span>
+</div><div class="stanza">
+<span class="i0">I hain't seed ole Joe, since way las' Fall;<br /></span>
+<span class="i0">Dey say he's been sol' down to Guinea Gall.<br /></span>
+</div></div>
+
+<p><!-- Page 33 --><span class='pagenum'><a name="Page_33" id="Page_33">[Pg 33]</a></span></p>
+
+<div class="poem">
+
+<h5>RABBIT SOUP</h5>
+
+<div class="stanza">
+<span class="i0">Rabbit soup! Rabbit sop!<br /></span>
+<span class="i0">Rabbit e't my tunnup top.<br /></span>
+</div><div class="stanza">
+<span class="i0">Rabbit hop, rabbit jump,<br /></span>
+<span class="i0">Rabbit hide behin' dat stump.<br /></span>
+</div><div class="stanza">
+<span class="i0">Rabbit stop, twelve o'clock,<br /></span>
+<span class="i0">Killed dat rabbit wid a rock.<br /></span>
+</div><div class="stanza">
+<span class="i0">Rabbit's mine. Rabbit's skin'.<br /></span>
+<span class="i0">Dress 'im off an' take 'im in.<br /></span>
+</div><div class="stanza">
+<span class="i0">Rabbit's on! Dance an' whoop!<br /></span>
+<span class="i0">Makin' a pot o' rabbit soup!<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5>OLD GRAY MINK</h5>
+
+<div class="stanza">
+<span class="i0">I once did think dat I would sink,<br /></span>
+<span class="i0">But you know I wus dat ole gray mink.<br /></span>
+</div><div class="stanza">
+<span class="i0">Dat ole gray mink jes couldn' die,<br /></span>
+<span class="i0">W'en he thought about good chicken pie.<br /></span>
+</div><div class="stanza">
+<span class="i0">He swum dat creek above de mill,<br /></span>
+<span class="i0">An' he's killing an' eatin' chicken still.<br /></span>
+</div></div>
+
+<p><!-- Page 34 --><span class='pagenum'><a name="Page_34" id="Page_34">[Pg 34]</a></span></p>
+
+<div class="poem">
+
+<h5>RUN, NIGGER, RUN!</h5>
+
+<div class="stanza">
+<span class="i0">Run, Nigger, run! De <a name="FNanchor_15_15" id="FNanchor_15_15"></a><a href="#Footnote_15_15" class="fnanchor">[15]</a>Patter-rollers'll ketch you.<br /></span>
+<span class="i0">Run, Nigger, run! It's almos' day.<br /></span>
+</div><div class="stanza">
+<span class="i0">Dat Nigger run'd, dat Nigger flew,<br /></span>
+<span class="i0">Dat Nigger tore his shu't in two.<br /></span>
+</div><div class="stanza">
+<span class="i0">All over dem woods and frou de paster,<br /></span>
+<span class="i0">Dem Patter-rollers shot; but de Nigger git faster,<br /></span>
+</div><div class="stanza">
+<span class="i0">Oh, dat Nigger whirl'd, dat Nigger wheel'd,<br /></span>
+<span class="i0">Dat Nigger tore up de whole co'n field.<br /></span>
+</div></div>
+
+<div class="footnotes">
+<div class="footnote"><p><a name="Footnote_15_15" id="Footnote_15_15"></a><a href="#FNanchor_15_15"><span class="label">[15]</span></a> Patrollers, or white guards; on duty at night during the
+days of slavery; whose duty it was to see that slaves without permission
+to go, stayed at home.</p></div>
+</div>
+
+<div class="poem">
+
+<h5>SHAKE THE PERSIMMONS DOWN</h5>
+
+<div class="stanza">
+<span class="i0">De raccoon up in de 'simmon tree.<br /></span>
+<span class="i0">Dat 'possum on de groun'.<br /></span>
+<span class="i0">De 'possum say to de raccoon: "Suh!"<br /></span>
+<span class="i0">"Please shake dem 'simmons down."<br /></span>
+</div><div class="stanza">
+<!-- Page 35 --><span class='pagenum'><a name="Page_35" id="Page_35">[Pg 35]</a></span><span class="i0">De raccoon say to de 'possum: "Suh!"<br /></span>
+<span class="i0">(As he grin from down below),<br /></span>
+<span class="i0">"If you wants dese good 'simmons, man,<br /></span>
+<span class="i0">Jes clam up whar dey grow."<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5>THE COW NEEDS A TAIL IN FLY-TIME</h5>
+
+<div class="stanza">
+<span class="i0">Dat ole black sow, she can root in de mud,<br /></span>
+<span class="i0">She can tumble an' roll in de slime;<br /></span>
+<span class="i0">But dat big red cow, she git all mired up,<br /></span>
+<span class="i0">So dat cow need a tail in fly-time.<br /></span>
+</div><div class="stanza">
+<span class="i0">Dat ole gray hoss, wid 'is ole bob tail,<br /></span>
+<span class="i0">You mought buy all 'is ribs fer a dime;<br /></span>
+<span class="i0">But dat ole gray hoss can git a kiver on,<br /></span>
+<span class="i0">Whilst de cow need a tail in fly-time.<br /></span>
+</div><div class="stanza">
+<span class="i0">Dat Nigger Overseer, dat's a-ridin' on a mule,<br /></span>
+<span class="i0">Cain't make hisse'f white lak de lime;<br /></span>
+<span class="i0">Mosser mought take 'im down fer a notch or two,<br /></span>
+<span class="i0">Den de cow'd need a tail in fly-time.<br /></span>
+</div></div>
+
+<p><!-- Page 36 --><span class='pagenum'><a name="Page_36" id="Page_36">[Pg 36]</a></span></p>
+
+<div class="poem">
+
+<h5>JAYBIRD DIED WITH THE WHOOPING COUGH</h5>
+
+<div class="stanza">
+<span class="i0">De Jaybird died wid de Whoopin' Cough,<br /></span>
+<span class="i0">De Sparrer died wid de colic;<br /></span>
+<span class="i0">'Long come de Red-bird, skippin' 'round,<br /></span>
+<span class="i0">Sayin': "Boys, git ready fer de Frolic!"<br /></span>
+</div><div class="stanza">
+<span class="i0">De Jaybird died wid de Whoopin' Cough,<br /></span>
+<span class="i0">De Bluebird died wid de Measles;<br /></span>
+<span class="i0">'Long come a Nigger wid a fiddle on his back,<br /></span>
+<span class="i0">'Vitin' Crows fer to dance wid de Weasels.<br /></span>
+</div><div class="stanza">
+<span class="i0">Dat Mockin'-bird, he romp an' sing;<br /></span>
+<span class="i0">Dat ole Gray Goose come prancin'.<br /></span>
+<span class="i0">Dat Thrasher stuff his mouf wid plums,<br /></span>
+<span class="i0">Den he caper on down to de dancin'.<br /></span>
+</div><div class="stanza">
+<span class="i0">Dey hopped it low, an' dey hopped it high;<br /></span>
+<span class="i0">Dey hopped it to, an' dey hopped it by;<br /></span>
+<span class="i0">Dey hopped it fer, an' dey hopped it nigh;<br /></span>
+<span class="i0">Dat fiddle an' bow jes make 'em fly.<br /></span>
+</div></div>
+
+<p><!-- Page 37 --><span class='pagenum'><a name="Page_37" id="Page_37">[Pg 37]</a></span></p>
+
+<div class="poem">
+
+<h5>WANTED! CORNBREAD AND COON</h5>
+
+<div class="stanza">
+<span class="i0">I'se gwine now a-huntin' to ketch a big fat coon.<br /></span>
+<span class="i0">Gwineter bring him home, an' bake him, an' eat him wid a spoon.<br /></span>
+<span class="i0">Gwineter baste him up wid gravy, an' add some onions too.<br /></span>
+<span class="i0">I'se gwineter shet de Niggers out, an' stuff myse'f clean through.<br /></span>
+</div><div class="stanza">
+<span class="i0">I wants a piece o' hoecake; I wants a piece o' bread,<br /></span>
+<span class="i0">An' I wants a piece o' Johnnycake as big as my ole head.<br /></span>
+<span class="i0">I wants a piece o' ash cake: I wants dat big fat coon!<br /></span>
+<span class="i0">An' I sh&#333;' won't git hongry 'fore de middle o' nex' June.<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5>LITTLE RED HEN</h5>
+
+<div class="stanza">
+<span class="i0">My liddle red hen, wid a liddle white foot,<br /></span>
+<span class="i0">Done built her nes' in a huckleberry root.<br /></span>
+<span class="i0">She lay m&#333;' aigs dan a flock on a fahm.<br /></span>
+<span class="i0">Anudder liddle drink wouldn' do us no harm.<br /></span>
+</div><div class="stanza">
+<!-- Page 38 --><span class='pagenum'><a name="Page_38" id="Page_38">[Pg 38]</a></span><span class="i0">My liddle red hen hatch fifty red chicks<br /></span>
+<span class="i0">In dat liddle ole nes' of huckleberry sticks.<br /></span>
+<span class="i0">Wid one m&#333;' drink, ev'y chick'll make two!<br /></span>
+<span class="i0">Come, bring it on, Honey, an' let's git through.<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5>RATION DAY</h5>
+
+<div class="stanza">
+<span class="i0">Dat ration day come once a week,<br /></span>
+<span class="i0">Ole Mosser's rich as Gundy;<br /></span>
+<span class="i0">But he gives us 'lasses all de week,<br /></span>
+<span class="i0">An' buttermilk fer Sund'y.<br /></span>
+</div><div class="stanza">
+<span class="i0">Ole Mosser give me a pound o' meat.<br /></span>
+<span class="i0">I e't it all on Mond'y;<br /></span>
+<span class="i0">Den I e't 'is 'lasses all de <ins class="correction" title="original reads: week.">week,</ins><br /></span>
+<span class="i0">An' buttermilk fer Sund'y.<br /></span>
+</div><div class="stanza">
+<span class="i0">Ole Mosser give me a peck o' meal,<br /></span>
+<span class="i0">I fed and cotch my tucky;<br /></span>
+<span class="i0">But I e't dem 'lasses all de week,<br /></span>
+<span class="i0">An' buttermilk fer Sund'y.<br /></span>
+</div><div class="stanza">
+<span class="i0">Oh laugh an' sing an' don't git tired.<br /></span>
+<span class="i0">We's all gwine home, some Mond'y,<br /></span>
+<span class="i0">To de honey ponds an' fritter trees;<br /></span>
+<span class="i0">An' ev'ry day'll be Sund'y.<br /></span>
+</div></div>
+
+<p><!-- Page 39 --><span class='pagenum'><a name="Page_39" id="Page_39">[Pg 39]</a></span></p>
+
+<div class="poem">
+
+<h5>MY FIDDLE</h5>
+
+<div class="stanza">
+<span class="i0">If my ole fiddle wus jes in chune,<br /></span>
+<span class="i0">She'd bring me a dollar ev'y Friday night in June.<br /></span>
+<span class="i0">W'en my ole fiddle is fixed up right,<br /></span>
+<span class="i0">She bring me a dollar in nearly ev'y night.<br /></span>
+<span class="i0">W'en my ole fiddle begin to sing,<br /></span>
+<span class="i0">She make de whole plantation ring.<br /></span>
+<span class="i0">She bring me in a dollar an' sometime m&#333;'.<br /></span>
+<span class="i0">Hurrah fer my ole fiddle an' bow!<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5>DIE IN THE PIG-PEN FIGHTING</h5>
+
+<div class="stanza">
+<span class="i0">Dat ole sow said to de barrer:<br /></span>
+<span class="i0">"I'll tell you w'at let's do:<br /></span>
+<span class="i0">Let's go an' git dat broad-axe<br /></span>
+<span class="i0">And die in de pig-pen too."<br /></span>
+</div><div class="stanza">
+<span class="i0">"Die in de pig-pen fightin'!<br /></span>
+<span class="i0">Yes, die, die in de wah!<br /></span>
+<span class="i0">Die in de pig-pen fightin',<br /></span>
+<span class="i0">Yes, die wid a bitin' jaw!"<br /></span>
+</div></div>
+
+<p><!-- Page 40 --><span class='pagenum'><a name="Page_40" id="Page_40">[Pg 40]</a></span></p>
+
+<div class="poem">
+
+<h5>MASTER IS SIX FEET ONE WAY</h5>
+
+<div class="stanza">
+<span class="i0">Mosser is six foot one way, an' free foot tudder;<br /></span>
+<span class="i0">An' he weigh five hunderd pound.<br /></span>
+<span class="i0">Britches cut so big dat dey don't suit de tailor,<br /></span>
+<span class="i0">An' dey don't meet half way 'round.<br /></span>
+</div><div class="stanza">
+<span class="i0">Mosser's coat come back to a claw-hammer p'int.<br /></span>
+<span class="i0">(Speak sof' or his Bloodhound'll bite us.)<br /></span>
+<span class="i0">His long white stockin's mighty clean an' nice,<br /></span>
+<span class="i0">But a liddle m&#333;' holier dan righteous.<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5>FOX AND GEESE</h5>
+
+<div class="stanza">
+<span class="i0">Br'er Fox wa'k out one moonshiny night,<br /></span>
+<span class="i0">He say to hisse'f w'at he's a gwineter do.<br /></span>
+<span class="i0">He say, "I'se gwineter have a good piece o' meat,<br /></span>
+<span class="i0">Bef&#333;' I leaves dis townyoo.<br /></span>
+<span class="i0">Dis townyoo, dis townyoo!<br /></span>
+<span class="i0">Yes, bef&#333;' I leaves dis townyoo!"<br /></span>
+</div><div class="stanza">
+<!-- Page 41 --><span class='pagenum'><a name="Page_41" id="Page_41">[Pg 41]</a></span><span class="i0">Ole mammy Sopentater jump up out'n bed,<br /></span>
+<span class="i0">An' she poke her head outside o' de d&#333;'.<br /></span>
+<span class="i0">She say: "Ole man, my gander's gone.<br /></span>
+<span class="i0">I heared 'im w'en he holler 'quinny-quanio,'<br /></span>
+<span class="i0">'Quinny-quanio, quinny-quanio!'<br /></span>
+<span class="i0">Yes, I heared 'im w'en he holler 'quinny-quanio.'"<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5>GOOSEBERRY WINE</h5>
+
+<div class="stanza">
+<span class="i1">Now 'umble Uncle Steben,<br /></span>
+<span class="i1">I wonders whar youse gwine?<br /></span>
+<span class="i1">Don't never tu'n y&#333;' back, Suh,<br /></span>
+<span class="i1">On dat good ole gooseberry wine!<br /></span>
+</div><div class="stanza">
+<span class="i1">Oh walk chalk, Ginger Blue!<br /></span>
+<span class="i1">Git over double trouble.<br /></span>
+<span class="i1">You needn' min' de wedder<br /></span>
+<span class="i1">So's de win' don't blow you double.<br /></span>
+</div><div class="stanza">
+<span class="i0"><i>Now!</i><br /></span>
+<span class="i1">Uncle Mack! Uncle Mack!<br /></span>
+<span class="i1">Did you ever see de lak?<br /></span>
+<span class="i1">Dat good ole sweet gooseberry wine<br /></span>
+<span class="i1">Call Uncle Steben back.<br /></span>
+</div></div>
+
+<p><!-- Page 42 --><span class='pagenum'><a name="Page_42" id="Page_42">[Pg 42]</a></span></p>
+
+<div class="poem">
+
+<h5>I'D RATHER BE A NEGRO THAN A POOR WHITE MAN</h5>
+
+<div class="stanza">
+<span class="i3">My name's Ran, I wuks in de san';<br /></span>
+<span class="i3">But I'd druther be a Nigger dan a p&#333;' white man.<br /></span>
+</div><div class="stanza">
+<span class="i3">Gwineter hitch my oxes side by side,<br /></span>
+<span class="i3">An' take my gal fer a big fine ride.<br /></span>
+</div><div class="stanza">
+<span class="i3">Gwineter take my gal to de country st&#333;';<br /></span>
+<span class="i3">Gwineter dress her up in red calico.<br /></span>
+</div><div class="stanza">
+<span class="i3">You take Kate, an' I'll take Joe.<br /></span>
+<span class="i3">Den off we'll go to de pahty-o.<br /></span>
+</div><div class="stanza">
+<span class="i3">Gwineter take my gal to de Hullabaloo,<br /></span>
+<span class="i3">Whar dere hain't no <a name="FNanchor_16_16" id="FNanchor_16_16"></a><a href="#Footnote_16_16" class="fnanchor">[16]</a>Crackers in a mile or two.<br /></span>
+</div><div class="stanza">
+<span class="i0"><i>Interlocution</i>:<br /></span>
+</div><div class="stanza">
+<span class="i3">(Fiddler) "Oh, Sal! Whar's de milk strainer cloth?"<br /></span>
+<!-- Page 43 --><span class='pagenum'><a name="Page_43" id="Page_43">[Pg 43]</a></span></div><div class="stanza">
+<span class="i3">(Banjo Picker) "Bill's got it wropped 'round his ole sore leg."<br /></span>
+</div><div class="stanza">
+<span class="i3">(Fiddler) "Well, take it down to de gum spring an' give it a cold water
+rench; I 'spizes nastness anyway. I'se got to have a clean cloth fer de milk."<br /></span>
+</div><div class="stanza">
+<span class="i3">He don't lak whisky but he jest drinks a can.<br /></span>
+<span class="i3">Honey! I'd druther be a Nigger dan a p&#333;' white man.<br /></span>
+</div><div class="stanza">
+<span class="i3">I'd druther be a Nigger, an' plow ole Beck<br /></span>
+<span class="i3">Dan a white <a href="#Footnote_16_16" class="fnanchor">[16]</a>Hill Billy wid his long red neck.<br /></span>
+</div></div>
+
+<div class="footnotes">
+<div class="footnote"><p><a name="Footnote_16_16" id="Footnote_16_16"></a><a href="#FNanchor_16_16"><span class="label">[16]</span></a> Names applied by Negroes to the poorer class of white
+people in the South.</p></div>
+</div>
+
+<div class="poem">
+
+<h5>THE HUNTING CAMP</h5>
+
+<div class="stanza">
+<span class="i0">Sam got up one mornin'<br /></span>
+<span class="i0">A mighty big fros'.<br /></span>
+<span class="i0">Saw "A louse, in de huntin' camp<br /></span>
+<span class="i0">As big as any hoss!"<br /></span>
+</div><div class="stanza">
+<!-- Page 44 --><span class='pagenum'><a name="Page_44" id="Page_44">[Pg 44]</a></span><span class="i0">Sam run 'way down de mountain;<br /></span>
+<span class="i0">But w'en Mosser got dar,<br /></span>
+<span class="i0">He swore it twusn't nothin'<br /></span>
+<span class="i0">But a big black b'ar.<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5>THE ARK</h5>
+
+<div class="stanza">
+<span class="i0">Ole Nora had a lots o' hands<br /></span>
+<span class="i0">A clearin' new ground patches.<br /></span>
+<span class="i0">He said he's gwineter build a Ark,<br /></span>
+<span class="i0">An' put tar on de hatches.<br /></span>
+</div><div class="stanza">
+<span class="i0">He had a sassy Mo'gan hoss<br /></span>
+<span class="i0">An' gobs of big fat cattle;<br /></span>
+<span class="i0">An' he driv' em all aboard de Ark,<br /></span>
+<span class="i0">W'en he hear de thunder rattle.<br /></span>
+</div><div class="stanza">
+<span class="i0">An' den de river riz so fas'<br /></span>
+<span class="i0">Dat it bust de levee railin's.<br /></span>
+<span class="i0">De lion got his dander up,<br /></span>
+<span class="i0">An' he lak to a broke de palin's.<br /></span>
+</div><div class="stanza">
+<span class="i0">An' on dat Ark wus daddy Ham;<br /></span>
+<span class="i0">No udder Nigger on dat packet.<br /></span>
+<span class="i0">He soon got tired o' de Barber Shop,<br /></span>
+<span class="i0">Caze he couln' stan' de racket.<br /></span>
+</div><div class="stanza">
+<!-- Page 45 --><span class='pagenum'><a name="Page_45" id="Page_45">[Pg 45]</a></span><span class="i0">An' den jes to amuse hisse'f,<br /></span>
+<span class="i0">He steamed a board an' bent it, Son.<br /></span>
+<span class="i0">Dat way he got a banjer up,<br /></span>
+<span class="i0">Fer ole Ham's de fust to make one.<br /></span>
+</div><div class="stanza">
+<span class="i0">Dey danced dat Ark from &#275;en to &#275;en,<br /></span>
+<span class="i0">Ole Nora called de Figgers.<br /></span>
+<span class="i0">Ole Ham, he sot an' knocked de chunes,<br /></span>
+<span class="i0">De happiest of de Niggers.<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5>GRAY AND BLACK HORSES</h5>
+
+<div class="stanza">
+<span class="i0">I went down to de woods an' I couldn' go 'cross,<br /></span>
+<span class="i0">So I paid five dollars fer an ole gray hoss.<br /></span>
+<span class="i0"><ins class="correction" title="this line was indented in the original">De hoss wouldn' pull, so I s&#333;l' 'im fer a bull.</ins><br /></span>
+<span class="i0">De bull wouldn' holler, so I s&#333;l' 'im fer a dollar.<br /></span>
+<span class="i0">De dollar wouldn' pass, so I throwed it in de grass.<br /></span>
+<span class="i0">Den de grass wouldn' grow. Heigho! Heigho!<br /></span>
+</div><div class="stanza">
+<span class="i0">Through dat huckleberry woods I couldn' git far,<br /></span>
+<span class="i0">So I paid a good dollar fer an ole black mar'.<br /></span>
+<span class="i0">W'en I got down dar, de trees wouldn' bar;<br /></span>
+<span class="i0">So I had to gallop back on dat ole black mar'.<br /></span>
+<span class="i0">"Bookitie-bar!" Dat ole black mar'; "Bookitie-bar!" Dat ole black mar'.<br /></span>
+<span class="i0">Yes she trabble so hard dat she jolt off my ha'r.<br /></span>
+</div></div>
+
+<p><!-- Page 46 --><span class='pagenum'><a name="Page_46" id="Page_46">[Pg 46]</a></span></p>
+
+<div class="poem">
+
+<h5>RATTLER</h5>
+
+<div class="stanza">
+<span class="i0">Go call ole Rattler from de bo'n.<br /></span>
+<span class="i0">Here Rattler! Here!<br /></span>
+<span class="i0">He'll drive de cows out'n de co'n,<br /></span>
+<span class="i0">Here Rattler! Here!<br /></span>
+</div><div class="stanza">
+<span class="i0">Rattler is my huntin' dog.<br /></span>
+<span class="i0">Here Rattler! Here!<br /></span>
+<span class="i0">He's good fer rabbit, good fer hog,<br /></span>
+<span class="i0">Here Rattler! Here!<br /></span>
+</div><div class="stanza">
+<span class="i0">He's good fer 'possum in de dew.<br /></span>
+<span class="i0">Here Rattler! Here!<br /></span>
+<span class="i0">Sometimes he gits a chicken, too.<br /></span>
+<span class="i0">Here Rattler! Here!<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5>BROTHER BEN AND SISTER SAL</h5>
+
+<div class="stanza">
+<span class="i0">Ole Br'er Ben's a mighty good ole man,<br /></span>
+<span class="i0">He don't steal chickens lak he useter.<br /></span>
+<span class="i0">He went down de chicken roos' las' Friday night,<br /></span>
+<span class="i0">An' tuck off a dominicker rooster.<br /></span>
+</div><div class="stanza">
+<!-- Page 47 --><span class='pagenum'><a name="Page_47" id="Page_47">[Pg 47]</a></span><span class="i0">Dere's ole Sis Sal, she climbs right well,<br /></span>
+<span class="i0">But she cain't 'gin to climb lak she useter.<br /></span>
+<span class="i0">So yonder she sets a shellin' out co'n<br /></span>
+<span class="i0">To Mammy's ole bob-tailed rooster.<br /></span>
+</div><div class="stanza">
+<span class="i0">Yes, ole Sis Sal's a mighty fine ole gal,<br /></span>
+<span class="i0">She's sh&#333;' extra good an' clever.<br /></span>
+<span class="i0">She's done tuck a notion all her own,<br /></span>
+<span class="i0">Dat she hain't gwineter marry never.<br /></span>
+</div><div class="stanza">
+<span class="i0">Ole Sis Sal's got a foot so big,<br /></span>
+<span class="i0">Dat she cain't wear no shoes an' gaiters.<br /></span>
+<span class="i0">So all she want is some red calico,<br /></span>
+<span class="i0">An' dem big yaller yam sweet taters.<br /></span>
+</div><div class="stanza">
+<span class="i0">Now looky, looky here! Now looky, looky there!<br /></span>
+<span class="i0">Jes looky!&mdash;Looky 'way over yonder!&mdash;<br /></span>
+<span class="i0">Don't you see dat ole gray goose<br /></span>
+<span class="i0">A-smilin' at de gander?<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5>SIMON SLICK'S MULE</h5>
+
+<div class="stanza">
+<span class="i0">Dere wus a liddle kickin' man,<br /></span>
+<span class="i0">His name wus Simon Slick.<br /></span>
+<span class="i0">He had a mule wid cherry eyes.<br /></span>
+<span class="i0">Oh, how dat mule could kick!<br /></span>
+</div><div class="stanza">
+<!-- Page 48 --><span class='pagenum'><a name="Page_48" id="Page_48">[Pg 48]</a></span><span class="i0">An', Suh, w'en you go up to him,<br /></span>
+<span class="i0">He shet one eye an' smile;<br /></span>
+<span class="i0">Den 'e telegram 'is foot to you,<br /></span>
+<span class="i0">An' sen' you half a mile!<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5>NOBODY LOOKING</h5>
+
+<div class="stanza">
+<span class="i0">Well: I look dis a way, an' I look dat a way,<br /></span>
+<span class="i2">An' I heared a mighty rumblin'.<br /></span>
+<span class="i2">W'en I come to find out, 'twus dad's black sow,<br /></span>
+<span class="i2">A-rootin' an' a-grumblin'.<br /></span>
+</div><div class="stanza">
+<span class="i0">Den:  I slipped away down to de big White House.<br /></span>
+<span class="i2">Miss Sallie, she done gone 'way.<br /></span>
+<span class="i2">I popped myse'f in de rockin' chear,<br /></span>
+<span class="i2">An' I rocked myse'f all day.<br /></span>
+</div><div class="stanza">
+<span class="i0">Now:  I looked dis a way, an' I looked dat a way,<br /></span>
+<span class="i2">An' I didn' see nobody in here.<br /></span>
+<span class="i2">I jes run'd my head in de coffee pot,<br /></span>
+<span class="i2">An' I drink'd up all o' de beer.<br /></span>
+</div></div>
+
+<p><!-- Page 49 --><span class='pagenum'><a name="Page_49" id="Page_49">[Pg 49]</a></span></p>
+
+<div class="poem">
+
+<h5>HOECAKE</h5>
+
+<div class="stanza">
+<span class="i0">If you wants to bake a hoecake,<br /></span>
+<span class="i0">To bake it good an' done;<br /></span>
+<span class="i0">Jes' slap it on a Nigger's heel,<br /></span>
+<span class="i0">An' hol' it to de sun.<br /></span>
+</div><div class="stanza">
+<span class="i0">Dat snake, he bake a hoecake,<br /></span>
+<span class="i0">An' sot de toad to mind it;<br /></span>
+<span class="i0">Dat toad he up an' go to sleep,<br /></span>
+<span class="i0">An' a lizard slip an' find it!<br /></span>
+</div><div class="stanza">
+<span class="i0">My mammy baked a hoecake,<br /></span>
+<span class="i0">As big as Alabamer.<br /></span>
+<span class="i0">She throwed it 'g'inst a Nigger's head<br /></span>
+<span class="i0">An' it ring jes' lak a hammer.<br /></span>
+</div><div class="stanza">
+<span class="i0">De way you bakes a hoecake,<br /></span>
+<span class="i0">In de ole Virginy 'tire;<br /></span>
+<span class="i0">You wrops it 'round a Nigger's heel,<br /></span>
+<span class="i0">An' h&#333;l's it to de fire.<br /></span>
+</div></div>
+
+<p><!-- Page 50 --><span class='pagenum'><a name="Page_50" id="Page_50">[Pg 50]</a></span></p>
+
+<div class="poem">
+
+<h5>I WENT DOWN THE ROAD</h5>
+
+<div class="stanza">
+<span class="i3">I went down de road,<br /></span>
+<span class="i3">I went in a whoop;<br /></span>
+<span class="i3">An' I met Aunt Dinah<br /></span>
+<span class="i3">Wid a chicken pot o' soup.<br /></span>
+<span class="i0">Sing: "I went away from dar; hook-a-doo-dle, hook-a-doo-dle."<br /></span>
+<span class="i2">"I went away from dar; hook-a-doo-dle-doo!"<br /></span>
+<span class="i3">I drunk up dat soup,<br /></span>
+<span class="i3">An' I let her go by;<br /></span>
+<span class="i3">An' I t&#333;l' her nex' time<br /></span>
+<span class="i3">To bring Missus' pot pie.<br /></span>
+<span class="i0">Sing: "Oh far'-you-well; hook-a-doo-dle, hook-a-doo-dle;<br /></span>
+<span class="i2">Oh far'-you-well, an' a hook-a-doo-dle-doo!"<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5>THE OLD HEN CACKLED</h5>
+
+<div class="stanza">
+<span class="i0">De ole hen she cackled,<br /></span>
+<span class="i0">An' stayed down in de bo'n.<br /></span>
+<span class="i0">She git fat an' sassy,<br /></span>
+<span class="i0">A-eatin' up de co'n.<br /></span>
+</div><div class="stanza">
+<!-- Page 51 --><span class='pagenum'><a name="Page_51" id="Page_51">[Pg 51]</a></span><span class="i0">De ole hen she cackled,<br /></span>
+<span class="i0">Git great long yaller laigs.<br /></span>
+<span class="i0">She swaller down de oats,<br /></span>
+<span class="i0">But I don't git no aigs.<br /></span>
+</div><div class="stanza">
+<span class="i0">De ole hen she cackled,<br /></span>
+<span class="i0">She cackled in de lot,<br /></span>
+<span class="i0">De nex' time she cackled,<br /></span>
+<span class="i0">She cackled in de pot.<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5>I LOVE SOMEBODY</h5>
+
+<div class="stanza">
+<span class="i0">I loves somebody, yes, I do;<br /></span>
+<span class="i0">An' I wants somebody to love me too.<br /></span>
+<span class="i0">Wid my chyart an' oxes stan'in' 'roun',<br /></span>
+<span class="i0">Her pretty liddle foot needn' tetch de groun'.<br /></span>
+</div><div class="stanza">
+<span class="i0">I loves somebody, yes, I do,<br /></span>
+<span class="i0">Dat randsome, handsome, Stickamastew.<br /></span>
+<span class="i0">Wid her reddingoat an' waterfall,<br /></span>
+<span class="i0">She's de pretty liddle gal dat beats 'em all.<br /></span>
+</div></div>
+
+<p><!-- Page 52 --><span class='pagenum'><a name="Page_52" id="Page_52">[Pg 52]</a></span></p>
+
+<div class="poem">
+
+<h5>WE ARE "ALL THE GO"</h5>
+
+<div class="stanza">
+<span class="i0">Yes!   We's "All-de-go," boys; we's "All-de-go."<br /></span>
+<span class="i2">Me an' my Lulu gal's "All-de-go."<br /></span>
+<span class="i3">I jes' loves my sweet pretty liddle Lulu Ann,<br /></span>
+<span class="i4">But de way she gits my money I cain't hardly understan'.<br /></span>
+<span class="i4">W'en she up an' call me "Honey!" I fergits my name is Sam,<br /></span>
+<span class="i4">An' I hain't got one nickel lef' to git a me a dram.<br /></span>
+</div><div class="stanza">
+<span class="i0">Still: We's "All-de-go," boys; we's "All-de-go."<br /></span>
+<span class="i2">Me an' my Lulu gal's "All-de-go."<br /></span>
+<span class="i3">She's always gwine a-fishin', w'en she'd oughter not to go;<br /></span>
+<span class="i4">An' now she's all a troubled wid de frostes an' de snow.<br /></span>
+<span class="i4">I tells you jes one thing dat I'se done gone an' foun':<br /></span>
+<span class="i4">De Nigs cain't git no livin' 'round de C&#333;'t House steps an' town.<br /></span>
+</div></div>
+
+<p><!-- Page 53 --><span class='pagenum'><a name="Page_53" id="Page_53">[Pg 53]</a></span></p>
+
+<div class="poem">
+
+<h5>AUNT DINAH DRUNK</h5>
+
+<div class="stanza">
+<span class="i0">Ole Aunt Dinah, she got drunk.<br /></span>
+<span class="i0">She fell in de fire, an' she kicked up a chunk.<br /></span>
+<span class="i0">Dem embers got in Aunt Dinah's shoe,<br /></span>
+<span class="i0">An' dat black Nigger sh&#333;' got up an' flew.<br /></span>
+</div><div class="stanza">
+<span class="i0">I likes Aunt Dinah mighty, mighty well,<br /></span>
+<span class="i0">But dere's jes' one thing I hates an' 'spize:<br /></span>
+<span class="i0">She drinks m&#333;' whisky dan de bigges' fool,<br /></span>
+<span class="i0">Den she up an' tell ten thousand lies.<br /></span>
+</div><div class="stanza">
+<span class="i0">Yes, I won't git drunk an' kick up a chunk.<br /></span>
+<span class="i2">I won't git drunk an' kick up a chunk.<br /></span>
+<span class="i2">I won't git drunk an' kick up a chunk,<br /></span>
+<span class="i2">'Way down on de ole Plank Road.<br /></span>
+<span class="i2">Oh shoo my Love! My turkle dove.<br /></span>
+<span class="i2">Oh shoo my Love! My turkle dove.<br /></span>
+<span class="i2">Oh shoo my Love! My turkle dove.<br /></span>
+<span class="i2">'Way down on de ole Plank Road.<br /></span>
+</div></div>
+
+<p><!-- Page 54 --><span class='pagenum'><a name="Page_54" id="Page_54">[Pg 54]</a></span></p>
+
+<div class="poem">
+
+<h5>THE OLD WOMAN IN THE HILLS</h5>
+
+<div class="stanza">
+<span class="i0">Once: &nbsp;&nbsp;Dere wus an ole 'oman<br /></span>
+<span class="i3">Dat lived in de hills;<br /></span>
+<span class="i3">Put rocks in 'er stockin's,<br /></span>
+<span class="i3">An' sent 'em to mill.<br /></span>
+</div><div class="stanza">
+<span class="i0">Den:  &nbsp;&nbsp;&nbsp;&nbsp;De ole miller swore,<br /></span>
+<span class="i3">By de pint o' his knife;<br /></span>
+<span class="i3">Dat he never had ground up<br /></span>
+<span class="i3">No rocks in his life.<br /></span>
+</div><div class="stanza">
+<span class="i0">So:  &nbsp;&nbsp;&nbsp;&nbsp;&nbsp; De ole 'oman said<br /></span>
+<span class="i3">To dat miller nex' day:<br /></span>
+<span class="i3">"You railly must 'scuse me,<br /></span>
+<span class="i3">It's de onliest way."<br /></span>
+</div><div class="stanza">
+<span class="i3">"I heared you made meal,<br /></span>
+<span class="i3">A-grindin' on stones.<br /></span>
+<span class="i3">I mus' 'ave heared wrong,<br /></span>
+<span class="i3">It mus' 'ave been bones."<br /></span>
+</div></div>
+
+<p><!-- Page 55 --><span class='pagenum'><a name="Page_55" id="Page_55">[Pg 55]</a></span></p>
+
+<div class="poem">
+
+<h5>A SICK WIFE</h5>
+
+<div class="stanza">
+<span class="i0">Las' Sadday night my wife tuck sick,<br /></span>
+<span class="i0">An' what d'you reckon ail her?<br /></span>
+<span class="i0">She e't a tucky gobbler's head<br /></span>
+<span class="i0">An' her stomach, it jes' fail her.<br /></span>
+</div><div class="stanza">
+<span class="i0">She squall out: "Sam, bring me some mint!<br /></span>
+<span class="i0">Make catnip up an' sage tea!"<br /></span>
+<span class="i0">I goes an' gits her all dem things,<br /></span>
+<span class="i0">But she throw 'em back right to me.<br /></span>
+</div><div class="stanza">
+<span class="i0">Says I: "Dear Honey! Mind nex' time!"<br /></span>
+<span class="i3">"Don't eat from 'A to Izzard'"<br /></span>
+<span class="i3">"I thinks you won' git sick at all,<br /></span>
+<span class="i3">If you saves p&#333;' me de gizzard."<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5>MY WONDERFUL TRAVEL</h5>
+
+<div class="stanza">
+<span class="i2">I come down from ole Virginny,<br /></span>
+<span class="i2">'Twas on a Summer day;<br /></span>
+<span class="i2">De wedder was all frez up,<br /></span>
+<span class="i2">'An' I skeeted all de way!<br /></span>
+</div><div class="stanza">
+<!-- Page 56 --><span class='pagenum'><a name="Page_56" id="Page_56">[Pg 56]</a></span>
+<span class="i0"><i>Interlocution</i>:<br /></span>
+</div><div class="stanza">
+<span class="i2">Hand my banjer down to play,<br /></span>
+<span class="i2">Wanter pick fer dese ladies right away;<br /></span>
+</div><div class="stanza">
+<span class="i2">"W'en dey went to bed,<br /></span>
+<span class="i2">Dey couldn' shet deir eyes,"<br /></span>
+<span class="i2">An' "Dey was stan'in' on deir heads,<br /></span>
+<span class="i2">A-pickin' up de pies."<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5><a name="FNanchor_17_17" id="FNanchor_17_17"></a>
+<a href="#Footnote_17_17" class="fnanchor">[17]</a>
+I WOULD NOT MARRY A BLACK GIRL</h5>
+
+<div class="stanza">
+<span class="i0">I wouldn' marry a black gal,<br /></span>
+<span class="i0">I'll tell you de reason why:<br /></span>
+<span class="i0">When she goes to comb dat head<br /></span>
+<span class="i0">De naps'll 'gin to fly.<br /></span>
+</div><div class="stanza">
+<span class="i0">I wouldn' marry a black gal,<br /></span>
+<span class="i0">I'll tell you why I won't:<br /></span>
+<span class="i0">When she'd oughter wash her face&mdash;<br /></span>
+<span class="i0">Well, I'll jes say she don't.<br /></span>
+</div><div class="stanza">
+<span class="i0">I woudn' marry a black gal,<br /></span>
+<span class="i0">An' dis is why I say:<br /></span>
+<span class="i0">When you has her face around,<br /></span>
+<span class="i0">It never gits good day.<br /></span>
+</div></div>
+
+<div class="footnotes">
+<div class="footnote"><p><a name="Footnote_17_17" id="Footnote_17_17"></a><a href="#FNanchor_17_17"><span class="label">[17]</span></a> For discussion see Study in Negro Folk Rhymes.</p></div>
+</div>
+
+<p><!-- Page 57 --><span class='pagenum'><a name="Page_57" id="Page_57">[Pg 57]</a></span></p>
+
+<div class="poem">
+
+<h5>HARVEST SONG</h5>
+
+<div class="stanza">
+<span class="i0">Las' year wus a good crap year,<br /></span>
+<span class="i0">An' we raised beans an' 'maters.<br /></span>
+<span class="i0">We didn' make much cotton an' co'n;<br /></span>
+<span class="i0">But, Goodness Life, de taters!<br /></span>
+</div><div class="stanza">
+<span class="i0">You can plow dat ole gray hoss,<br /></span>
+<span class="i0">I'se gwineter plow dat mulie;<br /></span>
+<span class="i0">An' w'en we's geddered in de craps,<br /></span>
+<span class="i0">I'se gwine down to see Julie.<br /></span>
+</div><div class="stanza">
+<span class="i0">I hain't gwineter wo'k on de railroad.<br /></span>
+<span class="i0">I hates to wo'k on de fahm.<br /></span>
+<span class="i0">I jes wants to set in de cool shade,<br /></span>
+<span class="i0">Wid my head on my Julie's ahm.<br /></span>
+</div><div class="stanza">
+<span class="i0">You swing Lou, an' I'll swing Sue.<br /></span>
+<span class="i0">Dere hain't no diffunce 'tween dese two.<br /></span>
+<span class="i0">You swing Lou, I'll swing my beau;<br /></span>
+<span class="i0">I'se gwineter buy my gal red calico.<br /></span>
+</div></div>
+
+<p><!-- Page 58 --><span class='pagenum'><a name="Page_58" id="Page_58">[Pg 58]</a></span></p>
+
+<div class="poem">
+
+<h5>YEAR OF JUBILEE</h5>
+
+<div class="stanza">
+<span class="i0">Niggers, has you seed ole Mosser;<br /></span>
+<span class="i0">(Red mustache on his face.)<br /></span>
+<span class="i0">A-gwine 'roun' sometime dis mawnin',<br /></span>
+<span class="i0">'Spectin' to leave de place?<br /></span>
+</div><div class="stanza">
+<span class="i0">Nigger Hands all runnin' 'way,<br /></span>
+<span class="i0">Looks lak we mought git free!<br /></span>
+<span class="i0">It mus' be now de <a name="FNanchor_18_18" id="FNanchor_18_18"></a><a href="#Footnote_18_18" class="fnanchor">[18]</a>Kingdom Come<br /></span>
+<span class="i0">In de Year o' Jubilee.<br /></span>
+</div><div class="stanza">
+<span class="i0">Oh, yon'er comes ole Mosser<br /></span>
+<span class="i0">Wid his red mustache all white!<br /></span>
+<span class="i0">It mus' be now de Kingdom Come<br /></span>
+<span class="i0">Sometime to-morrer night.<br /></span>
+</div><div class="stanza">
+<span class="i0">Yanks locked him in de smokehouse cellar,<br /></span>
+<span class="i0">De key's throwed in de well:<br /></span>
+<span class="i0">It sh&#333;' mus' be de Kingdom Come.<br /></span>
+<span class="i0">Go ring dat Nigger field-bell!<br /></span>
+</div></div>
+
+<div class="footnotes">
+<div class="footnote"><p><a name="Footnote_18_18" id="Footnote_18_18"></a><a href="#FNanchor_18_18"><span class="label">[18]</span></a> Kingdom Come = Freedom.</p></div>
+</div>
+
+<p><!-- Page 59 --><span class='pagenum'><a name="Page_59" id="Page_59">[Pg 59]</a></span></p>
+
+<div class="poem">
+
+<h5>SHEEP SHELL CORN</h5>
+
+<div class="stanza">
+<span class="i0"><i>Oh</i>: De Ram blow de ho'n an' de sheep shell co'n;<br /></span>
+<span class="i2">An' he sen' it to de mill by de buck-eyed Whippoorwill.<br /></span>
+<span class="i2">Ole Joe's dead an' gone but his <a name="FNanchor_19_19" id="FNanchor_19_19"></a><a href="#Footnote_19_19" class="fnanchor">[19]</a>Hant blows de ho'n;<br /></span>
+<span class="i2">An' his hound howls still from de top o' dat hill.<br /></span>
+</div><div class="stanza">
+<span class="i0"><i>Yes</i>: De Fish-hawk said unto Mistah Crane;<br /></span>
+<span class="i2">"I wishes to de Lawd dat you'd sen' a liddle rain;<br /></span>
+<span class="i2">Fer de water's all muddy, an de creek's gone dry;<br /></span>
+<span class="i2">If it 'twasn't fer de tadpoles we'd all die."<br /></span>
+</div><div class="stanza">
+<span class="i0"><i>Oh</i>: When de sheep shell co'n wid de rattle of his ho'n<br /></span>
+<span class="i2">I wishes to de Lawd I'd never been bo'n;<br /></span>
+<span class="i2">Caze when de Hant blows de ho'n, de sperits all dance,<br /></span>
+<span class="i2">An' de hosses an' de cattle, dey whirls 'round an' prance.<br /></span>
+</div><div class="stanza">
+<!-- Page 60 --><span class='pagenum'><a name="Page_60" id="Page_60">[Pg 60]</a></span>
+<span class="i0"><i>Oh</i>: Yonder comes Skillet an' dere goes Pot;<br /></span>
+<span class="i2">An' here comes Jawbone 'cross de lot.<br /></span>
+<span class="i2">Walk Jawbone! Beat de Skillet an' de Pan!<br /></span>
+<span class="i2">You cut dat Pigeon's Wing, Black Man!<br /></span>
+</div><div class="stanza">
+<span class="i0"><i>Now</i>: Take keer, gemmuns, an' let me through;<br /></span>
+<span class="i2">Caze I'se gwineter dance wid liddle Mollie Lou.<br /></span>
+<span class="i2">But I'se never seed de lak since I'se been bo'n,<br /></span>
+<span class="i2">When de sheep shell co'n wid de rattle of his ho'n!<br /></span>
+</div></div>
+
+<div class="footnotes">
+<div class="footnote"><p><a name="Footnote_19_19" id="Footnote_19_19"></a><a href="#FNanchor_19_19"><span class="label">[19]</span></a> Hant = spirit or ghost.</p></div>
+</div>
+
+<div class="poem">
+
+<h5>PLASTER</h5>
+
+<div class="stanza">
+<span class="i0">Chilluns:<br /></span>
+<span class="i2">Mammy an' daddy had a hoss,<br /></span>
+<span class="i2">Dey want a liddle bigger.<br /></span>
+<span class="i2">Dey sticked a plaster on his back<br /></span>
+<span class="i2">An' drawed a liddle Nigger.<br /></span>
+</div><div class="stanza">
+<span class="i0">Den:<br /></span>
+<span class="i2">Mammy an' daddy had a dog,<br /></span>
+<span class="i2">His tail wus short an' chunky.<br /></span>
+<span class="i2">Dey slapped a plaster 'round dat tail,<br /></span>
+<span class="i2">An' drawed it lak de monkey.<br /></span>
+</div><div class="stanza">
+<!-- Page 61 --><span class='pagenum'><a name="Page_61" id="Page_61">[Pg 61]</a></span><span class="i0">Well:<br /></span>
+<span class="i2">Mammy an' daddy's dead an' gone.<br /></span>
+<span class="i2">Did you ever hear deir story?<br /></span>
+<span class="i2">Dey sticked some plasters on deir heels,<br /></span>
+<span class="i2">An' drawed 'em up to Glory!<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5>UNCLE NED</h5>
+
+<div class="stanza">
+<span class="i0">Jes lay down de shovel an' de hoe.<br /></span>
+<span class="i0">Jes hang up de fiddle an' de bow.<br /></span>
+<span class="i0">No more hard work fer ole man Ned,<br /></span>
+<span class="i0">Fer he's gone whar de good Niggers go.<br /></span>
+</div><div class="stanza">
+<span class="i0">He didn' have no years fer to hear,<br /></span>
+<span class="i0">Didn' have no eyes fer to see,<br /></span>
+<span class="i0">Didn' have no teeth fer to eat corn cake,<br /></span>
+<span class="i0">An' he had to let de beefsteak be.<br /></span>
+</div><div class="stanza">
+<span class="i0">Dey called 'im "Ole Uncle Ned,"<br /></span>
+<span class="i0">A long, long time ago.<br /></span>
+<span class="i0">Dere wusn't no wool on de top o' his head<br /></span>
+<span class="i0">In de place whar de wool oughter grow.<br /></span>
+</div><div class="stanza">
+<span class="i0">When ole man Ned wus dead,<br /></span>
+<span class="i0">Mosser's tears run down lak rain;<br /></span>
+<span class="i0">But ole Miss, she wus a liddle sorter glad,<br /></span>
+<span class="i0">Dat she wouldn' see de ole Nigger 'gain.<br /></span>
+</div></div>
+
+<p><!-- Page 62 --><span class='pagenum'><a name="Page_62" id="Page_62">[Pg 62]</a></span></p>
+
+<div class="poem">
+
+<h5>THE MASTER'S "STOLEN" COAT</h5>
+
+<div class="stanza">
+<span class="i0">Ole Mosser bought a brand new coat,<br /></span>
+<span class="i0">He hung it on de wall.<br /></span>
+<span class="i0">Dat Nigger <a name="FNanchor_20_20" id="FNanchor_20_20"></a><a href="#Footnote_20_20" class="fnanchor">[20]</a>stole dat coat away,<br /></span>
+<span class="i0">An' wore it to de Ball.<br /></span>
+</div><div class="stanza">
+<span class="i0">His head look lak a Coffee pot,<br /></span>
+<span class="i0">His nose look lak de spout,<br /></span>
+<span class="i0">His mouf look lak de fier place,<br /></span>
+<span class="i0">Wid de ashes all tuck out.<br /></span>
+</div><div class="stanza">
+<span class="i0">His face look lak a skillet lid,<br /></span>
+<span class="i0">His years lak two big kites.<br /></span>
+<span class="i0">His eyes look lak two big biled aigs,<br /></span>
+<span class="i0">Wid de yallers in de whites.<br /></span>
+</div><div class="stanza">
+<span class="i0">His body 'us lak a stuffed toad frog,<br /></span>
+<span class="i0">His foot look lak a board.<br /></span>
+<span class="i0">Oh-oh! He thinks he is so fine,<br /></span>
+<span class="i0">But he's greener dan a gourd.<br /></span>
+</div></div>
+
+<div class="footnotes">
+<div class="footnote"><p><a name="Footnote_20_20" id="Footnote_20_20"></a><a href="#FNanchor_20_20"><span class="label">[20]</span></a> Stole, here, means taken temporarily with intention to
+return.</p></div>
+</div>
+
+<p><!-- Page 63 --><span class='pagenum'><a name="Page_63" id="Page_63">[Pg 63]</a></span></p><p><a name="FNanchor_21_21" id="FNanchor_21_21"></a></p>
+
+<div class="poem">
+
+<h5><a href="#Footnote_21_21" class="fnanchor">[21]</a>
+I WOULDN'T MARRY A YELLOW OR A WHITE NEGRO GIRL</h5>
+
+<div class="stanza">
+<span class="i0">I sho' loves dat gal dat dey calls Sally <a name="FNanchor_22_22" id="FNanchor_22_22"></a><a href="#Footnote_22_22" class="fnanchor">[22]</a>"Black,"<br /></span>
+<span class="i0">An' I sorter loves some of de res';<br /></span>
+<span class="i0">I first loves de gals fer lovin' me,<br /></span>
+<span class="i0">Den I loves myse'f de bes'.<br /></span>
+</div><div class="stanza">
+<span class="i0">I wouldn' marry dat yaller Nigger gal,<br /></span>
+<span class="i0">An' I'll tell you de reason why:<br /></span>
+<span class="i0">Her neck's drawed out so stringy an' long,<br /></span>
+<span class="i0">I'se afeared she 'ould never die.<br /></span>
+</div><div class="stanza">
+<span class="i0">I wouldn' marry dat White Nigger gal,<br /></span>
+<span class="i0">(Fer gracious sakes!) dis is why:<br /></span>
+<span class="i0">Her nose look lak a kittle spout;<br /></span>
+<span class="i0">An' her skin, it hain't never dry.<br /></span>
+</div></div>
+
+<div class="footnotes">
+<div class="footnote"><p><a name="Footnote_21_21" id="Footnote_21_21"></a><a href="#FNanchor_21_21"><span class="label">[21]</span></a> For discussion see Study in Negro Folk Rhymes.</p></div>
+
+<div class="footnote"><p><a name="Footnote_22_22" id="Footnote_22_22"></a><a href="#FNanchor_22_22"><span class="label">[22]</span></a> "Black" here is not the real name. This name is applied
+because of the complexion of the girls to whom it was sung.</p></div>
+</div>
+
+<div class="poem">
+
+<h5>DON'T ASK ME QUESTIONS</h5>
+
+<div class="stanza">
+<span class="i0">Don't ax me no questions,<br /></span>
+<span class="i0">An' I won't tell you no lies;<br /></span>
+<span class="i0">But bring me dem apples,<br /></span>
+<span class="i0">An' I'll make you some pies.<br /></span>
+</div><div class="stanza">
+<!-- Page 64 --><span class='pagenum'><a name="Page_64" id="Page_64">[Pg 64]</a></span><span class="i0">An' if you ax questions,<br /></span>
+<span class="i0">'Bout my havin' de flour;<br /></span>
+<span class="i0">I fergits to use 'lasses<br /></span>
+<span class="i0">An' de pie'll be all sour.<br /></span>
+</div><div class="stanza">
+<span class="i0">Dem apples jes wa'k here;<br /></span>
+<span class="i0">An' dem 'lasses, dey run.<br /></span>
+<span class="i0">Hain't no place lak my house<br /></span>
+<span class="i0">Found un'er de sun.<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5>THE OLD SECTION BOSS</h5>
+
+<div class="stanza">
+<span class="i0">I once knowed an ole Sexion Boss but he done been laid low.<br /></span>
+<span class="i0">I once knowed an ole Sexion Boss but he done been laid low.<br /></span>
+<span class="i0">He "Caame frum gude ole Ireland some fawhrty year ago."<br /></span>
+</div><div class="stanza">
+<span class="i0">W'en I ax 'im fer a job, he say: "Nayger, w'at can yer do?"<br /></span>
+<span class="i0">W'en I ax 'im fer a job, he say: "Nayger, w'at can yer do?"<br /></span>
+<span class="i0">"I can line de track; tote de jack, de pick an' shovel too."<br /></span>
+</div><div class="stanza">
+<!-- Page 65 --><span class='pagenum'><a name="Page_65" id="Page_65">[Pg 65]</a></span><span class="i0">Says he: "Nayger, de railroad's done, an' de chyars is on de track,"<br /></span>
+<span class="i0">Says he: "Nayger, de railroad's done, an' de chyars is on de track,"<br /></span>
+<span class="i0">"Transportation brung yer here, but y&#333;' money'll take yer back."<br /></span>
+</div><div class="stanza">
+<span class="i0">I went down to de Deepo, an' my ticket I sh&#333;' did draw.<br /></span>
+<span class="i0">I went down to de Deepo, an' my ticket I sh&#333;' did draw.<br /></span>
+<span class="i0">To take me over dat ole Iron Mountain to de State o' Arkansaw.<br /></span>
+</div><div class="stanza">
+<span class="i0">As I went sailin' down de road, I met my mudder-in-law.<br /></span>
+<span class="i0">I wus so tired an' hongry, man, dat I couldn' wuk my jaw.<br /></span>
+<span class="i0">Fer I hadn't had no decent grub since I lef' ole Arkansaw.<br /></span>
+</div><div class="stanza">
+<span class="i0">Her bread wus hard corndodgers; dat meat, I couldn' chaw.<br /></span>
+<span class="i0">Her bread wus hard corndodgers; dat meat, I couldn' chaw.<br /></span>
+<span class="i0">You see; dat's de way de Hoosiers feeds way out in Arkansaw.<br /></span>
+</div></div>
+
+<p><!-- Page 66 --><span class='pagenum'><a name="Page_66" id="Page_66">[Pg 66]</a></span></p>
+
+<div class="poem">
+
+<h5>THE NEGRO AND THE POLICEMAN</h5>
+
+<div class="stanza">
+<span class="i0">"Oh Mistah Policeman, tu'n me loose;<br /></span>
+<span class="i0">Hain't got no money but a good excuse."<br /></span>
+<span class="i0">Oh hello, Sarah Jane!<br /></span>
+</div><div class="stanza">
+<span class="i0">Dat ole Policeman treat me mean,<br /></span>
+<span class="i0">He make me wa'k to Bowlin' Green.<br /></span>
+<span class="i0">Oh hello, Sarah Jane!<br /></span>
+</div><div class="stanza">
+<span class="i0">De way he treat me wus a shame.<br /></span>
+<span class="i0">He make me wear dat Ball an' Chain.<br /></span>
+<span class="i0">Oh hello, Sarah Jane!<br /></span>
+</div><div class="stanza">
+<span class="i0">I runs to de river, I can't git 'cross;<br /></span>
+<span class="i0">Dat Police grab me an' swim lak a hoss.<br /></span>
+<span class="i0">Oh hello, Sarah Jane!<br /></span>
+</div><div class="stanza">
+<span class="i0">I goes up town to git me a gun,<br /></span>
+<span class="i0">Dat ole Police sh&#333;' make me run.<br /></span>
+<span class="i0">Oh hello, Sarah Jane!<br /></span>
+</div><div class="stanza">
+<span class="i0">I goes crosstown sorter walkin' wid a hump<br /></span>
+<span class="i0">An' dat ole Police <ins class="correction" title="original reads: sho'">sh&#333;'</ins> make me jump.<br /></span>
+<span class="i0">Oh hello, Sarah Jane!<br /></span>
+</div><div class="stanza">
+<span class="i0">Sarah Jane, is dat y&#333;' name?<br /></span>
+<span class="i0">Us boys, we calls you Sarah Jane.<br /></span>
+<span class="i0">Well, hello, Sarah Jane!<br /></span>
+</div></div>
+
+<p><!-- Page 67 --><span class='pagenum'><a name="Page_67" id="Page_67">[Pg 67]</a></span></p>
+
+<div class="poem">
+
+<h5>HAM BEATS ALL MEAT</h5>
+
+<div class="stanza">
+<span class="i0">Dem white folks set up in a Dinin' Room<br /></span>
+<span class="i0">An' dey charve dat mutton an' lam'.<br /></span>
+<span class="i0">De Nigger, he set 'hind de kitchen door,<br /></span>
+<span class="i0">An' he eat up de good sweet ham.<br /></span>
+</div><div class="stanza">
+<span class="i0">Dem white folks, dey set up an' look so fine,<br /></span>
+<span class="i0">An' dey eats dat ole cow meat;<br /></span>
+<span class="i0">But de Nigger grin an' he don't say much,<br /></span>
+<span class="i0">Still he know how to git what's sweet.<br /></span>
+</div><div class="stanza">
+<span class="i0">Deir ginger cakes taste right good sometimes,<br /></span>
+<span class="i0">An' deir Cobblers an' deir jam.<br /></span>
+<span class="i0">But fer every day an' Sunday too,<br /></span>
+<span class="i0">Jest gimme de good sweet ham.<br /></span>
+</div><div class="stanza">
+<span class="i0">Ham beats all meat,<br /></span>
+<span class="i0">Always good an' sweet.<br /></span>
+<span class="i0">Ham beats all meat,<br /></span>
+<span class="i0">I'se always ready to eat.<br /></span>
+<span class="i0">You can bake it, bile it, fry it, stew it,<br /></span>
+<span class="i0">An' still it's de good sweet ham.<br /></span>
+</div></div>
+
+<p><!-- Page 68 --><span class='pagenum'><a name="Page_68" id="Page_68">[Pg 68]</a></span></p>
+
+<div class="poem">
+
+<h5>SUZE ANN</h5>
+
+<div class="stanza">
+<span class="i0">Yes: I loves dat gal wid a blue dress on,<br /></span>
+<span class="i2">Dat de white folks calls Suze Ann.<br /></span>
+<span class="i2">She's jes' dat gal what stole my heart,<br /></span>
+<span class="i2">'Way down in Alabam'.<br /></span>
+</div><div class="stanza">
+<span class="i0">But: She loves a Nigger about nineteen,<br /></span>
+<span class="i2">Wid his lips all painted red;<br /></span>
+<span class="i2">Wid a liddle fuz around his mouf;<br /></span>
+<span class="i2">An' no brains in his head.<br /></span>
+</div><div class="stanza">
+<span class="i0">Now: Looky, looky Eas'! Oh, looky, looky Wes'!<br /></span>
+<span class="i2">I'se been down to ole Lou'zan';<br /></span>
+<span class="i2">Still dat ar gal I loves de bes'<br /></span>
+<span class="i2">Is de gal what's named Suze Ann.<br /></span>
+<span class="i2">Oh, head 'er! Head 'er! Ketch 'er!<br /></span>
+<span class="i2">Jump up an' <a name="FNanchor_23_23" id="FNanchor_23_23"></a><a href="#Footnote_23_23" class="fnanchor">[23]</a>"Jubal Jew."<br /></span>
+<span class="i2">Fer de Banger Picker's sayin':<br /></span>
+<span class="i2">He hain't got nothin' to do.<br /></span>
+</div></div>
+
+<div class="footnotes">
+<div class="footnote"><p><a name="Footnote_23_23" id="Footnote_23_23"></a><a href="#FNanchor_23_23"><span class="label">[23]</span></a> Jubal Jew is a kind of dance step.</p></div>
+</div>
+
+<div class="poem">
+
+<h5>WALK TOM WILSON</h5>
+
+<div class="stanza">
+<span class="i0">Ole Tom Wilson, he had 'im a hoss;<br /></span>
+<span class="i0">His legs so long he couldn' git 'em 'cross.<!-- Page 69 --><span class='pagenum'><a name="Page_69" id="Page_69">[Pg 69]</a></span><br /></span>
+<span class="i0">He laid up dar lak a bag o' meal,<br /></span>
+<span class="i0">An' he spur him in de flank wid his toenail heel.<br /></span>
+</div><div class="stanza">
+<span class="i0">Ole Tom Wilson, he come an' he go,<br /></span>
+<span class="i0">Frum cabin to cabin in de county-o.<br /></span>
+<span class="i0">W'en he go to bed, his legs hang do'n,<br /></span>
+<span class="i0">An' his foots makes poles fer de chickens t' roost on.<br /></span>
+</div><div class="stanza">
+<span class="i0">Tom went down to de river, an' he couldn' go 'cross.<br /></span>
+<span class="i0">Tom tromp on a 'gater an' 'e think 'e wus a hoss.<br /></span>
+<span class="i0">Wid a mouf wide open, 'gater jump from de san',<br /></span>
+<span class="i0">An' dat Nigger look clean down to de Promus' Lan'.<br /></span>
+</div><div class="stanza">
+<span class="i0">Wa'k Tom Wilson, git out'n de way!<br /></span>
+<span class="i0">Wa'k Tom Wilson, don't wait all de day!<br /></span>
+<span class="i0">Wa'k Tom Wilson, here afternoon;<br /></span>
+<span class="i0">Sweep dat kitchen wid a bran' new broom.<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5>CHICKEN PIE</h5>
+
+<div class="stanza">
+<span class="i0">If you wants to make an ole Nigger feel good,<br /></span>
+<span class="i0">Let me tell you w'at to do:<br /></span>
+<span class="i0">Jes take off a chicken from dat chicken roost,<br /></span>
+<span class="i0">An' take 'im along wid you.<br /></span>
+<span class="i0">Take a liddle dough to roll 'im up in,<br /></span>
+<span class="i0">An' it'll make you wink y&#333;' eye;<br /></span>
+<span class="i0">Wen dat good smell gits up y&#333;' nose,<br /></span>
+<span class="i0">Frum dat home-made chicken pie.<br /></span>
+</div><div class="stanza">
+<!-- Page 70 --><span class='pagenum'><a name="Page_70" id="Page_70">[Pg 70]</a></span><span class="i0">Jes go round w'en de night's sorter dark,<br /></span>
+<span class="i0">An' dem chickens, dey can't see.<br /></span>
+<span class="i0">Be shore dat de bad dog's all tied up,<br /></span>
+<span class="i0">Den slip right close to de tree.<br /></span>
+<span class="i0">Now retch out <ins class="correction" title="original reads: yo'">y&#333;'</ins> han' an' pull 'im in,<br /></span>
+<span class="i0">Den run lak a William goat;<br /></span>
+<span class="i0">An' if he holler, squeeze 'is neck,<br /></span>
+<span class="i0">An' shove 'im un'er y&#333;' coat.<br /></span>
+</div><div class="stanza">
+<span class="i0">Bake dat Chicken pie!<br /></span>
+<span class="i0">It's mighty hard to wait<br /></span>
+<span class="i0">When you see dat Chicken pie,<br /></span>
+<span class="i0">Hot, smokin' on de plate.<br /></span>
+<span class="i0">Bake dat Chicken pie!<br /></span>
+<span class="i0">Yes, put in lots o' spice.<br /></span>
+<span class="i0">Oh, how I hopes to Goodness<br /></span>
+<span class="i0">Dat I gits de bigges' slice.<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5>I AM NOT GOING TO HOBO ANY MORE</h5>
+
+<div class="stanza">
+<span class="i0">My mammy done tol' me a long time ago<br /></span>
+<span class="i0">To always try fer to be a good boy;<br /></span>
+<span class="i0">To lay on my pallet an' to waller on de fl&#333;';<br /></span>
+<span class="i0">An' to never leave my daddy's house.<br /></span>
+<span class="i0">I hain't never gwineter hobo no m&#333;'. By George!<br /></span>
+<span class="i0">I hain't never gwineter hobo no m&#333;'.<br /></span>
+</div><div class="stanza">
+<!-- Page 71 --><span class='pagenum'><a name="Page_71" id="Page_71">[Pg 71]</a></span><span class="i0">Yes, bef&#333;' I'd live dat ar hobo life,<br /></span>
+<span class="i0">I'll tell you what I'd jes go an' do:<br /></span>
+<span class="i0">I'd court dat pretty gal an' take 'er fer my wife,<br /></span>
+<span class="i0">Den jes lay 'side dat ar hobo life.<br /></span>
+<span class="i0">I hain't never gwineter hobo no m&#333;'. By George!<br /></span>
+<span class="i0">I hain't never gwineter hobo no m&#333;'.<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5>FORTY-FOUR</h5>
+
+<div class="stanza">
+<span class="i0">If de people'll jes gimme<br /></span>
+<span class="i0">Des a liddle bit o' peace,<br /></span>
+<span class="i0">I'll tell 'em what happen<br /></span>
+<span class="i0">To de Chief o' Perlice.<br /></span>
+<span class="i0">He met a robber<br /></span>
+<span class="i0">Right at de d&#333;'!<br /></span>
+<span class="i0">An' de robber, he shot 'im<br /></span>
+<span class="i0">Wid a forty-f&#333;'!<br /></span>
+<span class="i0">He shot dat Perliceman.<br /></span>
+<span class="i0">He shot 'im sh&#333;'!<br /></span>
+<span class="i0">What did he shoot 'im wid?<br /></span>
+<span class="i0">A forty-f&#333;'.<br /></span>
+</div><div class="stanza">
+<span class="i0">Dey sent fer de Doctah<br /></span>
+<span class="i0">An' de Doctah he come.<br /></span>
+<span class="i0">He come in a hurry,<br /></span>
+<span class="i0">He come in a run.<!-- Page 72 --><span class='pagenum'><a name="Page_72" id="Page_72">[Pg 72]</a></span><br /></span>
+<span class="i0">He come wid his instriments<br /></span>
+<span class="i0">Right in his han',<br /></span>
+<span class="i0">To progue an' find<br /></span>
+<span class="i0">Dat forty-f&#333;', Man!<br /></span>
+<span class="i0">De Doctah he progued;<br /></span>
+<span class="i0">He progued 'im sh&#333;'!<br /></span>
+<span class="i0">But he jes couldn' find<br /></span>
+<span class="i0">Dat forty-f&#333;'.<br /></span>
+</div><div class="stanza">
+<span class="i0">Dey sent fer de Preachah,<br /></span>
+<span class="i0">An' de preachah he come.<br /></span>
+<span class="i0">He come in a walk,<br /></span>
+<span class="i0">An' he come in to talk.<br /></span>
+<span class="i0">He come wid 'is Bible,<br /></span>
+<span class="i0">Right in 'is han',<br /></span>
+<span class="i0">An' he read from dat chapter,<br /></span>
+<span class="i0">Forty-f&#333;', Man!<br /></span>
+<span class="i0">Dat Preachah, he read.<br /></span>
+<span class="i0">He read, I know.<br /></span>
+<span class="i0">What Chapter did he read frum?<br /></span>
+<span class="i0">'Twus Forty-f&#333;'!<br /></span>
+</div></div>
+
+<p><!-- Page 73 --><span class='pagenum'><a name="Page_73" id="Page_73">[Pg 73]</a></span></p>
+
+<h3>Play Rhyme Section</h3>
+
+<div class="poem">
+
+<h5>BLINDFOLD PLAY CHANT</h5>
+
+<div class="stanza">
+<span class="i0">Oh blin' man! Oh blin' man!<br /></span>
+<span class="i0">You cain't never see.<br /></span>
+<span class="i0">Just tu'n 'round three times<br /></span>
+<span class="i0">You cain't ketch me.<br /></span>
+</div><div class="stanza">
+<span class="i0">Oh tu'n Eas'! Oh tu'n Wes'!<br /></span>
+<span class="i0">Ketch us if you can.<br /></span>
+<span class="i0">Did you thought dat you'd cotch us,<br /></span>
+<span class="i0">Mistah blin' man?<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5>FOX AND GEESE PLAY</h5>
+
+<div class="stanza">
+<span class="i0"><a name="FNanchor_24_24" id="FNanchor_24_24"></a><a href="#Footnote_24_24" class="fnanchor">[24]</a>(Fox <i>Call</i>) "Fox in de mawnin'!"<br /></span>
+<span class="i0">(Goose <i>Sponse</i>) "Goose in de evenin'!"<br /></span>
+</div><div class="stanza">
+<span class="i0">(Fox <i>Call</i>) "How many geese you got?"<br /></span>
+<span class="i0">(Goose <i>Sponse</i>) "More 'an you're able to ketch!"<br /></span>
+</div></div>
+
+<div class="footnotes">
+<div class="footnote"><p><a name="Footnote_24_24" id="Footnote_24_24"></a><a href="#FNanchor_24_24"><span class="label">[24]</span></a> For explanation of "call," and "sponse," see Study in
+Negro Folk Rhymes.</p></div>
+</div>
+
+<p><!-- Page 74 --><span class='pagenum'><a name="Page_74" id="Page_74">[Pg 74]</a></span></p>
+
+<div class="poem">
+
+<h5>HAWK AND CHICKENS PLAY</h5>
+
+<div class="stanza">
+<span class="i0"><a name="FNanchor_25_25" id="FNanchor_25_25"></a>
+<a href="#Footnote_25_25" class="fnanchor">[25]</a>(Chicken's <i>Call</i>)
+<ins class="correction" title="original had extra close quote after 'Chickamee'">"Chickamee</ins>, chickamee, cranie-crow."<br /></span>
+<span class="i8">I went to de well to wash my toe.<br /></span>
+<span class="i8">W'en I come back, my chicken wus gone.<br /></span>
+<span class="i8">W'at time, ole Witch?<br /></span>
+<span class="i0">(Hawk <i>Sponse</i>) "One"<br /></span>
+</div><div class="stanza">
+<span class="i0">(Hawk <i>Call</i>) "I wants a chick."<br /></span>
+<span class="i0">(Chicken's <i>Sponse</i>) "Well, you cain't git mine."<br /></span>
+</div><div class="stanza">
+<span class="i0">(Hawk <i>Call</i>) "I shall have a chick!"<br /></span>
+<span class="i0">(Chicken's <i>Sponse</i>) "You shan't have a chick!"<br /></span>
+</div></div>
+
+<div class="footnotes">
+<div class="footnote"><p><a name="Footnote_25_25" id="Footnote_25_25"></a><a href="#FNanchor_25_25"><span class="label">[25]</span></a> For explanation of "call," and "sponse," see Study in
+Negro Folk Rhymes.</p></div>
+</div>
+
+<div class="poem">
+
+<h5>CAUGHT BY THE WITCH PLAY</h5>
+
+<div class="stanza">
+<span class="i0">(Human <i>Call</i>) "Molly, Molly, Molly-bright!"<br /></span>
+<span class="i0">(Witch <i>Sponse</i>) "Three sc&#333;' an' ten!"<br /></span>
+</div><div class="stanza">
+<span class="i0">(Human <i>Call</i>) "Can we git dar 'fore candle-light?"<br /></span>
+<span class="i0">(Witch <i>Sponse</i>) "Yes, if y&#333;' legs is long an' light."<br /></span>
+</div><div class="stanza">
+<span class="i0">(Conscience's Warning <i>Call</i>) "You'd better watch out,<br /></span>
+<span class="i2">Or de witches'll git yer!"<br /></span>
+</div></div>
+
+<p><!-- Page 75 --><span class='pagenum'><a name="Page_75" id="Page_75">[Pg 75]</a></span></p>
+
+<div class="poem">
+
+<h5><a name="FNanchor_26_26" id="FNanchor_26_26"></a>
+<a href="#Footnote_26_26" class="fnanchor">[26]</a>
+GOOSIE-GANDER PLAY RHYME</h5>
+
+<div class="stanza">
+<span class="i0">"Goosie, goosie, goosie-gander!<br /></span>
+<span class="i0">What d'you say?"&mdash;"Say: 'Goose!'"&mdash;<br /></span>
+<span class="i0">"Ve'y well, go right along, Honey!<br /></span>
+<span class="i0">I tu'ns y&#333;' years a-loose."<br /></span>
+</div><div class="stanza">
+<span class="i0">"Goosie, goosie, goosie-gander!<br /></span>
+<span class="i0">What d'you say?"&mdash;"Say: 'Gander'"<br /></span>
+<span class="i0">"Ve'y well. Come in de ring, Honey!<br /></span>
+<span class="i0">I'll pull y&#333;' years way yander!"<br /></span>
+</div></div>
+
+<div class="footnotes">
+<div class="footnote"><p><a name="Footnote_26_26" id="Footnote_26_26"></a><a href="#FNanchor_26_26"><span class="label">[26]</span></a> For explanation read the Study in Negro Folk Rhymes.</p></div>
+</div>
+
+<div class="poem">
+
+<h5>HAWK AND BUZZARD</h5>
+
+<div class="stanza">
+<span class="i0">Once: De Hawk an' de buzzard went to roost,<br /></span>
+<span class="i2">An' de hawk got up wid a broke off tooth.<br /></span>
+</div><div class="stanza">
+<span class="i0">Den: De hawk an' de buzzard went to law,<br /></span>
+<span class="i2">An' de hawk come back wid a broke up jaw.<br /></span>
+</div><div class="stanza">
+<span class="i0">But lastly: Dat buzzard tried to plead his case,<br /></span>
+<span class="i2">Den he went home wid a smashed in face.<br /></span>
+</div></div>
+
+<p><!-- Page 76 --><span class='pagenum'><a name="Page_76" id="Page_76">[Pg 76]</a></span></p>
+
+<div class="poem">
+
+<h5>LIKES AND DISLIKES</h5>
+
+<div class="stanza">
+<span class="i0">I sho' loves Miss Donie! Oh, yes, I do!<br /></span>
+<span class="i3">She's neat in de waist,<br /></span>
+<span class="i3">Lak a needle in de case;<br /></span>
+<span class="i3">An' she suits my taste.<br /></span>
+</div><div class="stanza">
+<span class="i0">I'se gwineter run wid Mollie Roalin'! Oh, yes, I will!<br /></span>
+<span class="i3">She's pretty an' nice<br /></span>
+<span class="i3">Lak a bottle full o' spice,<br /></span>
+<span class="i3">But she's done drap me twice.<br /></span>
+</div><div class="stanza">
+<span class="i0">I don't lak Miss Jane! Oh no, I don't.<br /></span>
+<span class="i3">She's fat an' stout,<br /></span>
+<span class="i3">Got her mouf sticked out,<br /></span>
+<span class="i3">An' she laks to pout.<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5>SUSIE GIRL</h5>
+
+<div class="stanza">
+<span class="i0">Ring 'round, Miss Susie gal,<br /></span>
+<span class="i0">Ring 'round, "My Dovie."<br /></span>
+<span class="i0">Ring 'round, Miss Susie gal.<br /></span>
+<span class="i0">Bless you! "My Lovie."<br /></span>
+</div><div class="stanza">
+<!-- Page 77 --><span class='pagenum'><a name="Page_77" id="Page_77">[Pg 77]</a></span><span class="i0">Back 'way, Miss Susie gal.<br /></span>
+<span class="i0">Back 'way, "My Money."<br /></span>
+<span class="i0">Now come back, Miss Susie gal.<br /></span>
+<span class="i0">Dat's right! "My Honey."<br /></span>
+</div><div class="stanza">
+<span class="i0">Swing me, Miss Susie gal.<br /></span>
+<span class="i0">Swing me, "My Starlin'."<br /></span>
+<span class="i0">Jes swing me, my Susie gal.<br /></span>
+<span class="i0">Yes "Love!" "My Darlin'."<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5>SUSAN JANE</h5>
+
+<div class="stanza">
+<span class="i0">I know somebody's got my Lover;<br /></span>
+<span class="i0">Susan Jane! Susan Jane!<br /></span>
+<span class="i0">Oh, cain't you tell me; help me find 'er?<br /></span>
+<span class="i0">Susan Jane! Susan Jane!<br /></span>
+</div><div class="stanza">
+<span class="i0">If I lives to see nex' Fall;<br /></span>
+<span class="i0">Susan Jane! Susan Jane!<br /></span>
+<span class="i0">I hain't gwineter sow no wheat at all.<br /></span>
+<span class="i0">Susan Jane! Susan Jane!<br /></span>
+</div><div class="stanza">
+<span class="i0">'Way down yon'er in de middle o' de branch;<br /></span>
+<span class="i0">Susan Jane! Susan Jane!<br /></span>
+<span class="i0">De ole cow pat an' de buzzards dance.<br /></span>
+<span class="i0">Susan Jane! Susan Jane!<br /></span>
+</div></div>
+
+<p><!-- Page 78 --><span class='pagenum'><a name="Page_78" id="Page_78">[Pg 78]</a></span></p>
+
+<div class="poem">
+
+<h5>PEEP SQUIRREL</h5>
+
+<div class="stanza">
+<span class="i0">Peep squir'l, ying-ding-did-lum;<br /></span>
+<span class="i0">Peep squir'l, it's almos' day,<br /></span>
+<span class="i0">Look squir'l, ying-ding-did-lum,<br /></span>
+<span class="i0">Look squir'l, an' run away.<br /></span>
+</div><div class="stanza">
+<span class="i0">Walk squir'l, ying-ding-did-lum;<br /></span>
+<span class="i0">Walk squir'l, fer dat's de way.<br /></span>
+<span class="i0">Skip squir'l, ying-ding-did-lum;<br /></span>
+<span class="i0">Skip squir'l, all dress in gray.<br /></span>
+</div><div class="stanza">
+<span class="i0">Run squir'l! Ying-ding-did-lum!<br /></span>
+<span class="i0">Run squir'l! Oh, run away!<br /></span>
+<span class="i0">I cotch you squir'l! Ying-ding-did-lum!<br /></span>
+<span class="i0">I cotch you squir'l! Now stay, I say.<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5>DID YOU FEED MY COW?</h5>
+
+<div class="stanza">
+<span class="i0">"Did yer feed my cow?" "Yes, Mam!"<br /></span>
+<span class="i0">"Will yer tell me how?" "Yes, Mam!"<br /></span>
+<span class="i0">"Oh, w'at did yer give 'er?" "Cawn an' hay."<br /></span>
+<span class="i0">"Oh, w'at did yer give 'er?" "Cawn an' hay."<br /></span>
+</div><div class="stanza">
+<!-- Page 79 --><span class='pagenum'><a name="Page_79" id="Page_79">[Pg 79]</a></span><span class="i0">"Did yer milk 'er good?" "Yes, Mam!"<br /></span>
+<span class="i0">"Did yer do lak yer should?" "Yes, Mam!"<br /></span>
+<span class="i0">"Oh, how did yer milk 'er?" "Swish! Swish! Swish!"<br /></span>
+<span class="i0">"Oh, how did yer milk 'er?" "Swish! Swish! Swish!"<br /></span>
+</div><div class="stanza">
+<span class="i0">"Did dat cow git sick?" "Yes, Mam!"<br /></span>
+<span class="i0">"Wus she kivered wid tick?" "Yes, Mam!"<br /></span>
+<span class="i0">"Oh, how wus she sick?" "All bloated up."<br /></span>
+<span class="i0">"Oh, how wus she sick?" "All bloated up."<br /></span>
+</div><div class="stanza">
+<span class="i0">"Did dat cow die?" "Yes, Mam!"<br /></span>
+<span class="i0">"Wid a pain in 'er eye?" "Yes, Mam!"<br /></span>
+<span class="i0">"Oh, how did she die?" "Uh-! Uh-! Uh-!"<br /></span>
+<span class="i0">"Oh, how did she die?" "Uh-! Uh-! Uh-!"<br /></span>
+</div><div class="stanza">
+<span class="i0">"Did de Buzzards come?" "Yes, Mam!"<br /></span>
+<span class="i0">"Fer to pick 'er bone?" "Yes, Mam!"<br /></span>
+<span class="i0">"Oh, how did they come?" "Flop! Flop! Flop!"<br /></span>
+<span class="i0">"Oh, how did they come?" "Flop! Flop! Flop!"<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5>A BUDGET</h5>
+
+<div class="stanza">
+<span class="i0">If I lives to see nex' Spring<br /></span>
+<span class="i0">I'se gwineter buy my wife a big gold ring.<br /></span>
+</div><div class="stanza">
+<!-- Page 80 --><span class='pagenum'><a name="Page_80" id="Page_80">[Pg 80]</a></span><span class="i0">If I lives to see nex' Fall,<br /></span>
+<span class="i0">I'se gwinter buy my wife a waterfall.<br /></span>
+</div><div class="stanza">
+<span class="i0">"When Christmas comes?" You cunnin' elf!<br /></span>
+<span class="i0">I'se gwineter spen' my money on myself.<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5>THE OLD BLACK GNATS</h5>
+
+<div class="stanza">
+<span class="i0">Dem ole black gnats, dey is so bad<br /></span>
+<span class="i0">I cain't git out'n here.<br /></span>
+<span class="i0">Dey stings, an' bites, an' runs me mad;<br /></span>
+<span class="i0">I cain't git out'n here.<br /></span>
+</div><div class="stanza">
+<span class="i0">Dem ole black gnats dey sings de song,<br /></span>
+<span class="i0">"You cain't git out'n here.<br /></span>
+<span class="i0">Ole Satan'll git you bef&#333;' long;<br /></span>
+<span class="i0">You cain't git out'n here."<br /></span>
+</div><div class="stanza">
+<span class="i0">Dey burns my years, gits in my eye;<br /></span>
+<span class="i0">An' I cain't git out'n here.<br /></span>
+<span class="i0">Dey makes me dance, dey makes me cry;<br /></span>
+<span class="i0">An' I cain't git out'n here.<br /></span>
+</div><div class="stanza">
+<span class="i0">I fans an' knocks but dey won't go 'way!<br /></span>
+<span class="i0">I cain't git out'n here.<br /></span>
+<span class="i0">Dey makes me wish 'twus Jedgment Day;<br /></span>
+<span class="i0">Fer I cain't git out'n here.<br /></span>
+</div></div>
+
+<p><!-- Page 81 --><span class='pagenum'><a name="Page_81" id="Page_81">[Pg 81]</a></span></p>
+
+<div class="poem">
+
+<h5>SUGAR LOAF TEA</h5>
+
+<div class="stanza">
+<span class="i0">Bring through y&#333;' <a name="FNanchor_27_27" id="FNanchor_27_27"></a><a href="#Footnote_27_27" class="fnanchor">[27]</a>Sugar-l&#333;'-tea, bring through y&#333;' <a href="#Footnote_27_27" class="fnanchor">[27]</a>Candy,<br /></span>
+<span class="i0">All I want is to wheel, an' tu'n, an' bow to my Love so handy.<br /></span>
+</div><div class="stanza">
+<span class="i0">You tu'n here on Sugar-l&#333;'-tea, I'll tu'n there on Candy.<br /></span>
+<span class="i0">All I want is to wheel, an' tu'n, an' bow to my Love so handy.<br /></span>
+</div><div class="stanza">
+<span class="i0">Some gits drunk on Sugar-l&#333;'-tea, some gits drunk on Candy,<br /></span>
+<span class="i0">But all I wants is to wheel, an' tu'n, an' bow to my Love so handy.<br /></span>
+</div></div>
+
+<div class="footnotes">
+<div class="footnote"><p><a name="Footnote_27_27" id="Footnote_27_27"></a><a href="#FNanchor_27_27"><span class="label">[27]</span></a> Nicknames applied in imagination to the women engaged in
+playing in the Play Song.</p></div></div>
+
+<div class="poem">
+
+<h5>GREEN OAK TREE! ROCKY'O</h5>
+
+<div class="stanza">
+<span class="i0">Green oak tree! Rocky'o! Green oak tree! Rocky'o!<br /></span>
+<span class="i0">Call dat one you loves, who it may be,<br /></span>
+<span class="i0">To come an' set by de side o' me.<br /></span>
+<span class="i0">"Will you hug 'im once an' kiss 'im twice?"<br /></span>
+<span class="i0">"W'y! I wouldn' kiss 'im once fer to save 'is life!"<br /></span>
+<span class="i0">Green oak tree! Rocky'o! Green oak tree! Rocky'o!<br /></span>
+</div></div>
+
+<p><!-- Page 82 --><span class='pagenum'><a name="Page_82" id="Page_82">[Pg 82]</a></span></p>
+
+<div class="poem">
+
+<h5>KISSING SONG</h5>
+
+<div class="stanza">
+<span class="i0">A sleish o' bread an' butter fried,<br /></span>
+<span class="i0">Is good enough fer y&#333;' sweet Bride.<br /></span>
+<span class="i0">Now choose y&#333;' Lover, w'ile we sing,<br /></span>
+<span class="i0">An' call 'er nex' onto de ring.<br /></span>
+</div><div class="stanza">
+<span class="i0">"Oh my Love, how I loves you!<br /></span>
+<span class="i0">Nothin' 's in dis worl' above you.<br /></span>
+<span class="i0">Dis right han', fersake it never.<br /></span>
+<span class="i0">Dis heart, you mus' keep forever.<br /></span>
+<span class="i0">One sweet kiss, I now takes from you;<br /></span>
+<span class="i0">Caze I'se gwine away to leave you."<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5>KNEEL ON THIS CARPET</h5>
+
+<div class="stanza">
+<span class="i0">Jes choose y&#333;' Eas'; jes choose y&#333;' Wes'.<br /></span>
+<span class="i0">Now choose de one you loves de bes'.<br /></span>
+<span class="i0">If she hain't here to take 'er part<br /></span>
+<span class="i0">Choose some one else wid all y&#333;' heart.<br /></span>
+</div><div class="stanza">
+<span class="i0">Down on dis chyarpet you mus' kneel,<br /></span>
+<span class="i0">Shore as de grass grows in de fiel'.<br /></span>
+<span class="i0">Salute y&#333;' Bride, an' kiss her sweet,<br /></span>
+<span class="i0">An' den rise up upon y&#333;' feet.<br /></span>
+</div></div>
+
+<p><!-- Page 83 --><span class='pagenum'><a name="Page_83" id="Page_83">[Pg 83]</a></span></p>
+
+<div class="poem">
+
+<h5>SALT RISING BREAD</h5>
+
+<div class="stanza">
+<span class="i0">I loves saltin', saltin' bread.<br /></span>
+<span class="i0">I loves saltin', saltin' bread.<br /></span>
+<span class="i0">Put on dat skillet, nev' mind de lead;<br /></span>
+<span class="i0">Caze I'se gwineter cook dat saltin' bread;<br /></span>
+<span class="i0">Yes, ever since my mammy's been dead,<br /></span>
+<span class="i0">I'se been makin' an' cookin' dat saltin' bread.<br /></span>
+</div><div class="stanza">
+<span class="i0">I loves saltin', saltin' bread.<br /></span>
+<span class="i0">I loves saltin', saltin' bread.<br /></span>
+<span class="i0">You loves biscuit, butter, an' fat?<br /></span>
+<span class="i0">I can dance Shiloh better 'an dat.<br /></span>
+<span class="i0">Does you turn 'round an' shake y&#333;' head?&mdash;<br /></span>
+<span class="i0">Well; I loves saltin', saltin' bread.<br /></span>
+</div><div class="stanza">
+<span class="i0">I loves saltin', saltin' bread.<br /></span>
+<span class="i0">I loves saltin', saltin' bread.<br /></span>
+<span class="i0">W'en you ax y&#333;' mammy fer butter an' bread,<br /></span>
+<span class="i0">She don't give nothin' but a stick across y&#333;' head.<br /></span>
+<span class="i0">On cracklin's, you say, you wants to git fed?<br /></span>
+<span class="i0">Well, I loves saltin', saltin' bread.<br /></span>
+</div></div>
+
+<p><!-- Page 84 --><span class='pagenum'><a name="Page_84" id="Page_84">[Pg 84]</a></span></p>
+
+<div class="poem">
+
+<h5>PRECIOUS THINGS</h5>
+
+<div class="stanza">
+<span class="i0">Hol' my rooster, h&#333;l' my hen,<br /></span>
+<span class="i0">Pray don't tetch my <a name="FNanchor_28_28" id="FNanchor_28_28"></a><a href="#Footnote_28_28" class="fnanchor">[28]</a>Gooshen Ben'.<br /></span>
+</div><div class="stanza">
+<span class="i0">Hol' my bonnet, h&#333;l' my shawl,<br /></span>
+<span class="i0">Pray don't tetch my waterfall.<br /></span>
+</div><div class="stanza">
+<span class="i0">H&#333;l' my han's by de finger tips,<br /></span>
+<span class="i0">But pray don't tetch my sweet liddle lips.<br /></span>
+</div></div>
+
+<div class="footnotes">
+<div class="footnote"><p><a name="Footnote_28_28" id="Footnote_28_28"></a><a href="#FNanchor_28_28"><span class="label">[28]</span></a> Grecian Bend.</p></div>
+</div>
+
+<div class="poem">
+
+<h5>HE LOVES SUGAR AND TEA</h5>
+
+<div class="stanza">
+<span class="i0">Mistah Buster, he loves sugar an' tea.<br /></span>
+<span class="i0">Mistah Buster, he loves candy.<br /></span>
+<span class="i0">Mistah Buster, he's a Jim-dandy!<br /></span>
+<span class="i0">He can swing dem gals so handy.<br /></span>
+</div><div class="stanza">
+<span class="i0">Charlie's up an' Charlie's down.<br /></span>
+<span class="i0">Charlie's fine an' dandy.<br /></span>
+<span class="i0">Ev'ry time he goes to town,<br /></span>
+<span class="i0">He gits dem gals stick candy.<br /></span>
+</div><div class="stanza">
+<span class="i0">Dat Niggah, he love sugar an' tea.<br /></span>
+<span class="i0">Dat Niggah love dat candy.<!-- Page 85 --><span class='pagenum'><a name="Page_85" id="Page_85">[Pg 85]</a></span><br /></span>
+<span class="i0">Fine Niggah! He can wheel 'em 'round,<br /></span>
+<span class="i0">An' swing dem ladies handy.<br /></span>
+</div><div class="stanza">
+<span class="i0">Mistah Sambo, he love sugar an' tea.<br /></span>
+<span class="i0">Mistah Sambo love his candy.<br /></span>
+<span class="i0">Mistah Sambo; he's dat han'some man<br /></span>
+<span class="i0">What goes wid sister Mandy.<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5>HERE COMES A YOUNG MAN COURTING</h5>
+
+<div class="stanza">
+<span class="i0">Here comes a young man a courtin'! Courtin'! Courtin'!<br /></span>
+<span class="i0">Here comes a young man a-courtin'! It's Tidlum Tidelum Day.<br /></span>
+<span class="i0">"Say! Won't you have one o' us? Us, Sir? Us, Sir?<br /></span>
+<span class="i0">Say! Won't you have one o' us, Sir?" dem brown skin ladies say.<br /></span>
+</div><div class="stanza">
+<span class="i0">"You is too black an' rusty! Rusty! Rusty!<br /></span>
+<span class="i0">You is too black an' rusty!" said Tidlum Tidelum Day.<br /></span>
+<span class="i0">"We hain't no blacker 'an you, Sir! You, Sir! You, Sir!<br /></span>
+<span class="i0">We hain't no blacker 'an you, Sir!" dem brown skin ladies say.<br /></span>
+</div><div class="stanza">
+<!-- Page 86 --><span class='pagenum'><a name="Page_86" id="Page_86">[Pg 86]</a></span><span class="i0">"Pray! Won't you have one o' us, Sir? Us, Sir? Us, Sir?<br /></span>
+<span class="i0">Pray! Won't you have one o' us, Sir?" say yaller gals all gay.<br /></span>
+<span class="i0">"You is too ragged an' dirty! Dirty! Dirty!<br /></span>
+<span class="i0">You is too ragged an' dirty!" said Tidlum Tidelum Day.<br /></span>
+</div><div class="stanza">
+<span class="i0">"You shore is got de bighead! Bighead! Bighead!<br /></span>
+<span class="i0">You shore is got de bighead! You needn' come dis way.<br /></span>
+<span class="i0">We's good enough fer you, Sir! You, Sir! You, Sir!<br /></span>
+<span class="i0">We's good enough fer you, Sir!" dem yaller gals all say.<br /></span>
+</div><div class="stanza">
+<span class="i0">"De fairest one dat I can see, dat I can see, dat I can see,<br /></span>
+<span class="i0">De fairest one dat I can see," said Tidlum Tidelum Day.<br /></span>
+<span class="i0">"My Lulu, come an' wa'k wid me, wa'k wid me, wa'k wid me.<br /></span>
+<span class="i0">My Lulu, come an' wa'k wid me. 'Miss Tidlum Tidelum Day.'"<br /></span>
+</div></div>
+
+<p><!-- Page 87 --><span class='pagenum'><a name="Page_87" id="Page_87">[Pg 87]</a></span></p>
+
+<div class="poem">
+
+<h5>ANCHOR LINE</h5>
+
+<div class="stanza">
+<span class="i0">I'se gwine out on de Anchor Line, Dinah!<br /></span>
+<span class="i0">I won't git back 'fore de summer time, Dinah!<br /></span>
+<span class="i0">W'en I come back be "dead in line,"<br /></span>
+<span class="i0">I'se gwineter bring you a dollar an' a dime,<br /></span>
+<span class="i0">Shore as I gits in from de Anchor Line, Dinah!<br /></span>
+</div><div class="stanza">
+<span class="i0">If you loves me lak I loves you, Dinah!<br /></span>
+<span class="i0">No Coon can cut our love in two, Dinah!<br /></span>
+<span class="i0">If you'll jes come an' go wid me,<br /></span>
+<span class="i0">Come go wid me to Tennessee,<br /></span>
+<span class="i0">Come go wid me; I'll set you free,&mdash;Dinah!<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5>SALLIE</h5>
+
+<div class="stanza">
+<span class="i0">Sallie! Sallie! don't you want to marry?<br /></span>
+<span class="i0">Sallie! Sallie! do come an' tarry!<br /></span>
+<span class="i0">Sallie! Sallie! Mammy says to tell her when.<br /></span>
+<span class="i0">Sallie! Sallie! She's gwineter kill dat turkey hen!<br /></span>
+</div><div class="stanza">
+<span class="i0">Sallie! Sallie! When you goes to marry,<br /></span>
+<span class="i0">(<ins class="correction" title="original missing !">Sallie!</ins> Sallie!) Marry a fahmin man(!)<br /></span>
+<span class="i0">(Sallie! Sallie!) Ev'ry day'll be Mond'y,<br /></span>
+<span class="i0">(Sallie! Sallie!) Wid a hoe-handle in y&#333;' han'!<br /></span>
+</div></div>
+
+<p><!-- Page 88 --><span class='pagenum'><a name="Page_88" id="Page_88">[Pg 88]</a></span></p>
+
+<div class="poem">
+
+<h5><a name="FNanchor_29_29" id="FNanchor_29_29"></a>
+<a href="#Footnote_29_29" class="fnanchor">[29]</a>
+SONG TO THE RUNAWAY SLAVE</h5>
+
+<div class="stanza">
+<span class="i0">Go 'way from dat window, "My Honey, My Love!"<br /></span>
+<span class="i0">Go 'way from dat window! I say.<br /></span>
+<span class="i0">De baby's in de bed, an' his mammy's lyin' by,<br /></span>
+<span class="i0">But you cain't git y&#333;' lodgin' here.<br /></span>
+</div><div class="stanza">
+<span class="i0">Go 'way from dat window, "My Honey, My Love!"<br /></span>
+<span class="i0">Go 'way from dat window! I say;<br /></span>
+<span class="i0">Fer ole Mosser's got 'is gun, an' to Miss'ip' youse been s&#333;l';<br /></span>
+<span class="i0">So you cain't git y&#333;' lodgin' here.<br /></span>
+</div><div class="stanza">
+<span class="i0">Go 'way from dat window, "My Honey, My Love!"<br /></span>
+<span class="i0">Go 'way from dat window! I say.</span><!-- Page 89 --><span class='pagenum'><a name="Page_89" id="Page_89">[Pg 89]</a></span><br />
+<span class="i0">De baby keeps a-cryin'; but you'd better un'erstan'<br /></span>
+<span class="i0">Dat you cain't git y&#333;' lodgin' here.<br /></span>
+</div><div class="stanza">
+<span class="i0">Go 'way from dat window, "My Honey, My Love!"<br /></span>
+<span class="i0">Go 'way from dat window! I say;<br /></span>
+<span class="i0">Fer de Devil's in dat man, an' you'd better un'erstan'<br /></span>
+<span class="i0">Dat you cain't git y&#333;' lodgin' here.<br /></span>
+</div></div>
+
+<div class="footnotes">
+<div class="footnote"><p><a name="Footnote_29_29" id="Footnote_29_29"></a><a href="#FNanchor_29_29"><span class="label">[29]</span></a> The story went among Negroes that a runaway slave husband
+returned every night, and knocked on the window of his wife's cabin to
+get food. Other slaves having betrayed the secret that he was still in
+the vicinity, he was sold in the woods to a slave trader at reduced
+price. This trader was to come next day with bloodhounds to hunt him
+down. On the night after the sale, when the runaway slave husband
+knocked, the slave wife pinched their baby to make it cry. Then she sang
+the above song (as if singing to the baby), so that he might, if
+possible, effect his escape.</p></div>
+</div>
+
+<div class="poem">
+
+<h5>DOWN IN THE LONESOME GARDEN</h5>
+
+<div class="stanza">
+<span class="i0">Hain't no use to weep, hain't no use to moan;<br /></span>
+<span class="i0">Down in a lonesome gyardin.<br /></span>
+<span class="i0">You cain't git no meat widout pickin' up a bone,<br /></span>
+<span class="i0">Down in a lonesome gyardin.<br /></span>
+</div><div class="stanza">
+<span class="i0">Look at dat gal! How she puts on airs,<br /></span>
+<span class="i0">Down in de lonesome gyardin!<br /></span>
+<span class="i0">But whar did she git dem closes she w'ars,<br /></span>
+<span class="i0">Down in de lonesome gyardin?<br /></span>
+</div><div class="stanza">
+<span class="i0">It hain't gwineter rain, an' it hain't gwineter snow;<br /></span>
+<span class="i0">Down in my lonesome gyardin.<br /></span>
+<span class="i0">You hain't gwinter eat in my kitchen doo',<br /></span>
+<span class="i0">Nor down in my lonesome gyardin.<br /></span>
+</div></div>
+
+<p><!-- Page 90 --><span class='pagenum'><a name="Page_90" id="Page_90">[Pg 90]</a></span></p>
+
+<div class="poem">
+
+<h5>LITTLE SISTER, WON'T YOU MARRY ME?</h5>
+
+<div class="stanza">
+<span class="i0">Liddle sistah in de barn, jine de weddin'.<br /></span>
+<span class="i0">Youse de sweetest liddle couple dat I ever did see.<br /></span>
+<span class="i0">Oh Love! Love! Ahms all 'round me!<br /></span>
+<span class="i0">Say, liddle sistah, won't you marry me?<br /></span>
+</div><div class="stanza">
+<span class="i0">Oh step back, gal, an' don't you come a nigh me,<br /></span>
+<span class="i0">Wid all dem sassy words dat you say to me.<br /></span>
+<span class="i0">Oh Love! Love! Ahms all 'roun' me!<br /></span>
+<span class="i0">Oh liddle sistah, won't you marry me?<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5>RAISE A "RUCUS" TO-NIGHT</h5>
+
+<div class="stanza">
+<span class="i0">Two liddle Niggers all dressed in white, (Raise a rucus to-night.)<br /></span>
+<span class="i0">Want to go to Heaben on de tail of a kite. (Raise a rucus to-night.)<br /></span>
+<span class="i0">De kite string broke; dem Niggers fell; (Raise a rucus to-night.)<br /></span>
+<span class="i0">Whar dem Niggers go, I hain't gwineter tell. (Raise a rucus to-night.)<br /></span>
+</div><div class="stanza">
+<!-- Page 91 --><span class='pagenum'><a name="Page_91" id="Page_91">[Pg 91]</a></span><span class="i0">A Nigger an' a w'ite man a playin' seben up; (Raise a rucus to-night.)<br /></span>
+<span class="i0">De Nigger beat de w'ite man, but '&#275;'s skeered to pick it up. (Raise a rucus to-night.)<br /></span>
+<span class="i0">Dat Nigger grabbed de money, an' de w'ite man fell. (Raise a rucus to-night.)<br /></span>
+<span class="i0">How de Nigger run, I'se not gwineter tell. (Raise a rucus to-night.)<br /></span>
+</div><div class="stanza">
+<span class="i0">Look here, Nigger! Let me tell you a naked fac'; (Raise a rucus to-night.)<br /></span>
+<span class="i0">You mought a been cullud widout bein' dat black; (Raise a rucus to-night.)<br /></span>
+<span class="i0">Dem 'ar feet look lak youse sh&#333;' walkin' back; (Raise a rucus to-night.)<br /></span>
+<span class="i0">An' y&#333;' ha'r, it look lak a chyarpet tack. (Raise a rucus to-night.)<br /></span>
+</div><div class="stanza">
+<span class="i2">Oh come 'long, chilluns, come 'long,<br /></span>
+<span class="i2">W'ile dat moon are shinin' bright.<br /></span>
+<span class="i2">Let's git on board, an' float down de river,<br /></span>
+<span class="i2">An' raise dat rucus to-night.<br /></span>
+</div></div>
+
+<p><!-- Page 92 --><span class='pagenum'><a name="Page_92" id="Page_92">[Pg 92]</a></span></p>
+
+<div class="poem">
+
+<h5>SWEET PINKS AND ROSES</h5>
+
+<div class="stanza">
+<span class="i0">Sweet pinks an' roses, strawbeers on de vines,<br /></span>
+<span class="i0">Call in de one you loves, an' kiss 'er if you minds.<br /></span>
+<span class="i0">Here sets a pretty gal,<br /></span>
+<span class="i0">Here sets a pretty boy;<br /></span>
+<span class="i0">Cheeks painted rosy, an' deir eyes battin' black.<br /></span>
+<span class="i0">You kiss dat pretty gal, an' I'll stan' back.<br /></span>
+</div></div>
+
+<p><!-- Page 93 --><span class='pagenum'><a name="Page_93" id="Page_93">[Pg 93]</a></span></p>
+
+<h3>Pastime Rhyme Section</h3>
+
+<div class="poem">
+
+<h5>SATAN</h5>
+
+<div class="stanza">
+<span class="i0">De Lawd made man, an' de man made money.<br /></span>
+<span class="i0">De Lawd made de bees, an' de bees made honey.<br /></span>
+<span class="i0">De Lawd made ole Satan, an' ole Satan he make sin.<br /></span>
+<span class="i0">Den de Lawd, He make a liddle hole to put ole Satan in.<br /></span>
+</div><div class="stanza">
+<span class="i0">Did you ever see de Devil, wid his iron handled shovel,<br /></span>
+<span class="i0">A scrapin' up de san' in his ole tin pan?<br /></span>
+<span class="i0">He cuts up mighty funny, he steals all y&#333;' money,<br /></span>
+<span class="i0">He blinds you wid his san'. He's tryin' to git you, man!<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5>JOHNNY BIGFOOT</h5>
+
+<div class="stanza">
+<span class="i0">Johnny, Johnny Bigfoot!<br /></span>
+<span class="i0">Want a pair o' shoes?<br /></span>
+<span class="i0">Go kick two cows out'n deir skins.<br /></span>
+<span class="i0">Run Brudder, tell de news!<br /></span>
+</div></div>
+
+<p><!-- Page 94 --><span class='pagenum'><a name="Page_94" id="Page_94">[Pg 94]</a></span></p>
+
+<div class="poem">
+
+<h5>THE THRIFTY SLAVE</h5>
+
+<div class="stanza">
+<span class="i0">Jes wuk all day,<br /></span>
+<span class="i0">Den go huntin' in de wood.<br /></span>
+<span class="i0">Ef you cain't ketch nothin',<br /></span>
+<span class="i0">Den you hain't no good.<br /></span>
+<span class="i0">Don't look at Mosser's chickens,<br /></span>
+<span class="i0">Caze dey're roostin' high.<br /></span>
+<span class="i0">Big pig, liddle pig, root hog or die!<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5>WILD NEGRO BILL</h5>
+
+<div class="stanza">
+<span class="i0">I'se wild Nigger Bill<br /></span>
+<span class="i0">Frum Redpepper Hill.<br /></span>
+<span class="i0">I never did wo'k, an' I never will.<br /></span>
+</div><div class="stanza">
+<span class="i0">I'se done killed de Boss.<br /></span>
+<span class="i0">I'se knocked down de hoss.<br /></span>
+<span class="i0">I eats up raw goose widout apple sauce!<br /></span>
+</div><div class="stanza">
+<span class="i0">I'se Run-a-way Bill,<br /></span>
+<span class="i0">I knows dey mought kill;<br /></span>
+<span class="i0">But ole Mosser hain't cotch me, an' he never will!<br /></span>
+</div></div>
+
+<p><!-- Page 95 --><span class='pagenum'><a name="Page_95" id="Page_95">[Pg 95]</a></span></p>
+
+<div class="poem">
+
+<h5>YOU LOVE YOUR GIRL</h5>
+
+<div class="stanza">
+<span class="i0">You loves y&#333;' gal?<br /></span>
+<span class="i0">Well, I loves mine.<br /></span>
+<span class="i0">Y&#333;' gal hain't common?<br /></span>
+<span class="i0">Well, my gal's fine.<br /></span>
+</div><div class="stanza">
+<span class="i0">I loves my gal,<br /></span>
+<span class="i0">She hain't no goose&mdash;<br /></span>
+<span class="i0">Blacker 'an blackberries,<br /></span>
+<span class="i0">Sweeter 'an juice.<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5>FRIGHTENED AWAY FROM A CHICKEN-ROOST</h5>
+
+<div class="stanza">
+<span class="i0">I went down to de hen house on my knees,<br /></span>
+<span class="i0">An' I thought I heared dat chicken sneeze.<br /></span>
+<span class="i0">You'd oughter seed dis Nigger a-gittin' 'way frum dere,<br /></span>
+<span class="i0">But 'twusn't nothin' but a rooster sayin' his prayer.<br /></span>
+<span class="i0">How I wish dat rooster's prayer would en',<br /></span>
+<span class="i0">Den perhaps I mought eat dat ole gray hen.<br /></span>
+</div></div>
+
+<p><!-- Page 96 --><span class='pagenum'><a name="Page_96" id="Page_96">[Pg 96]</a></span></p>
+
+<div class="poem">
+
+<h5>BEDBUG</h5>
+
+<div class="stanza">
+<span class="i0">De June-bug's got de golden wing,<br /></span>
+<span class="i0">De Lightning-bug de flame;<br /></span>
+<span class="i0">De Bedbug's got no wing at all,<br /></span>
+<span class="i0">But he gits dar jes de same.<br /></span>
+</div><div class="stanza">
+<span class="i0">De Punkin-bug's got a punkin smell,<br /></span>
+<span class="i0">De Squash-bug smells de wust;<br /></span>
+<span class="i0">But de puffume of dat ole Bedbug,<br /></span>
+<span class="i0">It's enough to make you bust.<br /></span>
+</div><div class="stanza">
+<span class="i0">Wen dat Bedbug come down to my house,<br /></span>
+<span class="i0">I wants my walkin' cane.<br /></span>
+<span class="i0">Go git a pot an' scald 'im hot!<br /></span>
+<span class="i0">Good-by, Miss Lize Jane!<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5>HOW TO GET TO GLORY LAND</h5>
+
+<div class="stanza">
+<span class="i0">If you wants to git to Glory Land,<br /></span>
+<span class="i0">I'll tell you what to do:<br /></span>
+<span class="i0">Jes grease y&#333;' heels wid mutton sue,<br /></span>
+<span class="i0">W'en de Devil's atter you.<br /></span>
+<span class="i0">Jes grease y&#333;' heel an' grease y&#333;' han',<br /></span>
+<span class="i0">An' slip 'way&mdash;over into Glory Lan'.<br /></span>
+</div></div>
+
+<p><!-- Page 97 --><span class='pagenum'><a name="Page_97" id="Page_97">[Pg 97]</a></span></p>
+
+<div class="poem">
+
+<h5>DESTITUTE FORMER SLAVE OWNERS</h5>
+
+<div class="stanza">
+<span class="i0">Missus an' Mosser a-walkin' de street,<br /></span>
+<span class="i0">Deir han's in deir pockets an' nothin' to eat.<br /></span>
+<span class="i0">She'd better be home a-washin' up de dishes,<br /></span>
+<span class="i0">An' a-cleanin' up de ole man's raggitty britches.<br /></span>
+<span class="i0">He'd better run 'long an' git out de hoes<br /></span>
+<span class="i0">An' clear out his own crooked weedy corn rows;<br /></span>
+<span class="i0">De Kingdom is come, de Niggers is free.<br /></span>
+<span class="i0">Hain't no Nigger slaves in de Year Jubilee.<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5>FATTENING FROGS FOR SNAKES</h5>
+
+<div class="stanza">
+<span class="i0">You needn' sen' my gal hoss apples<br /></span>
+<span class="i0">You needn' sen' her 'lasses candy;<br /></span>
+<span class="i0">She would keer fer de lak o' you,<br /></span>
+<span class="i0">Ef you'd sen' her apple brandy.<br /></span>
+</div><div class="stanza">
+<span class="i0">W'y don't you git some common sense?<br /></span>
+<span class="i0">Jes git a liddle! Oh fer land sakes!<br /></span>
+<span class="i0">Quit y&#333;' foolin', she hain't studyin' you!<br /></span>
+<span class="i0">Youse jes fattenin' frogs fer snakes!<br /></span>
+</div></div>
+
+<p><!-- Page 98 --><span class='pagenum'><a name="Page_98" id="Page_98">[Pg 98]</a></span></p>
+
+<div class="poem">
+
+<h5>THE MULE'S KICK</h5>
+
+<div class="stanza">
+<span class="i0">Is dis me, or not me,<br /></span>
+<span class="i0">Or is de Devil got me?<br /></span>
+<span class="i0">Wus dat a muskit shot me?<br /></span>
+<span class="i0">Is I laid here more'n a week?&mdash;<br /></span>
+<span class="i0">Dat ole mule do kick amazin',<br /></span>
+<span class="i0">An' I 'spec's he's now a-grazin'<br /></span>
+<span class="i0">On de t'other side de creek.<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5>CHRISTMAS TURKEY</h5>
+
+<div class="stanza">
+<span class="i0">I prayed to de Lawd fer tucky-o.<br /></span>
+<span class="i0">Dat tucky wouldn' come.<br /></span>
+<span class="i0">I prayed, an' I prayed 'til I'se almos' daid.<br /></span>
+<span class="i0">No tucky at my home.<br /></span>
+</div><div class="stanza">
+<span class="i0">Chrismus Day, she almos' here;<br /></span>
+<span class="i0">My wife, she mighty mad.<br /></span>
+<span class="i0">She want dat tucky mo' an' mo'.<br /></span>
+<span class="i0">An' she want 'im mighty bad.<br /></span>
+</div><div class="stanza">
+<span class="i0">I prayed 'til de scales come on my knees,<br /></span>
+<span class="i0">An' still no tucky come.<br /></span>
+<span class="i0">I tuck myse'f to my tucky roos',<br /></span>
+<span class="i0">An' I brung my tucky home.<br /></span>
+</div></div>
+
+<p><!-- Page 99 --><span class='pagenum'><a name="Page_99" id="Page_99">[Pg 99]</a></span></p>
+
+<div class="poem">
+
+<h5>A FULL POCKETBOOK</h5>
+
+<div class="stanza">
+<span class="i0">De goose at de barn, he feel mighty funny,<br /></span>
+<span class="i0">Caze de duck find a pocketbook chug full o' money.<br /></span>
+<span class="i0">De goose say: "Whar is you gwine, my Sonny?"<br /></span>
+<span class="i0">An' de duck, he say: "Now good-by, Honey."<br /></span>
+</div><div class="stanza">
+<span class="i0">De duck chaw terbacker an' de goose drink wine,<br /></span>
+<span class="i0">Wid a stuffed pocketbook dey sh&#333;' had a good time;<br /></span>
+<span class="i0">De grasshopper played de fiddle on a punkin vine<br /></span>
+<span class="i0">'Till dey all fall over on a sorter dead line.<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5>NO ROOM TO POKE FUN</h5>
+
+<div class="stanza">
+<span class="i0">Nev' m&#299;n' if my nose are flat,<br /></span>
+<span class="i0">An' my face are black an' sooty;<br /></span>
+<span class="i0">De Jaybird hain't so big in song,<br /></span>
+<span class="i0">An' de Bullfrog hain't no beauty.<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5>CROOKED NOSE JANE</h5>
+
+<div class="stanza">
+<span class="i0">I courted a gal down de lane.<br /></span>
+<span class="i0">Her name, it wus Crooked Nose Jane.<br /></span>
+<span class="i0">Her face wus white speckled, her lips wus all red,<br /></span>
+<span class="i0">An' she look jes as lean as a weasel half-fed.<br /></span>
+</div></div>
+
+<p><!-- Page 100 --><span class='pagenum'><a name="Page_100" id="Page_100">[Pg 100]</a></span></p>
+
+<div class="poem">
+
+<h5>BAD FEATURES</h5>
+
+<div class="stanza">
+<span class="i0">Blue gums an' black eyes;<br /></span>
+<span class="i0">Run 'round an' tell lies.<br /></span>
+<span class="i0">Liddle head, liddle wit;<br /></span>
+<span class="i0">Big long head, not a bit.<br /></span>
+</div><div class="stanza">
+<span class="i0">Wid his long crooked toes,<br /></span>
+<span class="i0">An' his heel right roun';<br /></span>
+<span class="i0">Dat flat-footed Nigger<br /></span>
+<span class="i0">Make a hole in de groun'.<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5>MISS SLIPPY SLOPPY</h5>
+
+<div class="stanza">
+<span class="i0">Ole Miss Slippy Sloppy jump up out'n bed,<br /></span>
+<span class="i0">Den out'n de winder she poke 'er nappy head,<br /></span>
+<span class="i0">"Jack! O Jack! De gray goose's dead.<br /></span>
+<span class="i0">Dat fox done gone an' bit off 'er head!"<br /></span>
+</div><div class="stanza">
+<span class="i0">Jack run up de hill an' he call Mosser's hounds;<br /></span>
+<span class="i0">An' w'en dat fox hear dem turble sounds,<br /></span>
+<span class="i0">He sw'ar by his head an' his hide all 'round,<br /></span>
+<span class="i0">Dat he don't want no dinner, but a hole in de ground.<br /></span>
+</div></div>
+
+<p><!-- Page 101 --><span class='pagenum'><a name="Page_101" id="Page_101">[Pg 101]</a></span></p>
+
+<div class="poem">
+
+<h5>HOW TO MAKE IT RAIN</h5>
+
+<div class="stanza">
+<span class="i0">Go kill dat snake an' hang him high,<br /></span>
+<span class="i0">Den tu'n his belly to de sky.<br /></span>
+<span class="i0">De storm an' rain'll come bye an' bye.<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5>A WIND-BAG</h5>
+
+<div class="stanza">
+<span class="i0">A nigger come a-struttin' up to me las' night;<br /></span>
+<span class="i0">In his han' wus a walkin' cane,<br /></span>
+<span class="i0">He tipped his hat an' give a low bow;<br /></span>
+<span class="i0">"Howdy-doo! Miss Lize Jane!"<br /></span>
+</div><div class="stanza">
+<span class="i0">But I didn' ax him how he done,<br /></span>
+<span class="i0">Which make a hint good pinned,<br /></span>
+<span class="i0">Dat I'd druther have a paper bag,<br /></span>
+<span class="i0">When it's sumpin' to be filled up wid wind.<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5>GOING TO BE GOOD SLAVES</h5>
+
+<div class="stanza">
+<span class="i0">Ole Mosser an' Missus has gone down to town,<br /></span>
+<span class="i0">Dey said dey'd git us somethin' an' dat hain't no jokes.<br /></span>
+<span class="i0">I'se gwineter be good all de whilst dey're all 'way,<br /></span>
+<span class="i0">An' I'se gwineter wear stockin's jes lak de white folks.<br /></span>
+</div></div>
+
+<p><!-- Page 102 --><span class='pagenum'><a name="Page_102" id="Page_102">[Pg 102]</a></span></p>
+
+<div class="poem">
+
+<h5><a name="FNanchor_30_30" id="FNanchor_30_30"></a>
+<a href="#Footnote_30_30" class="fnanchor">[30]</a>PAGE'S GEESE</h5>
+
+<div class="stanza">
+<span class="i0">Ole man Page'll be in a turble rage,<br /></span>
+<span class="i0">W'en he find out, it'll raise his dander.<br /></span>
+<span class="i0">Yankee soldiers bought his geese, fer one cent a-piece,<br /></span>
+<span class="i0">An' sent de pay home by de gander.<br /></span>
+</div></div>
+
+<div class="footnotes">
+<div class="footnote"><p><a name="Footnote_30_30" id="Footnote_30_30"></a><a href="#FNanchor_30_30"><span class="label">[30]</span></a> The Northern soldiers during the Civil War took all of a
+Southern planter's geese except one lone gander. They put one penny, for
+each goose taken, into a small bag and tied this bag around the gander's
+neck. They then sent him home to his owner with the pay of one penny for
+each goose taken. The Negroes of the community at once made up this
+little song.</p></div>
+</div>
+
+<div class="poem">
+
+<h5>TO WIN A YELLOW GIRL</h5>
+
+<div class="stanza">
+<span class="i0">If you wants to win a yaller gal,<br /></span>
+<span class="i0">I tell you what you do;<br /></span>
+<span class="i0">You "borrow" Mosser's Beaver hat,<br /></span>
+<span class="i0">An' slip on his Long-tailed Blue.<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5>SEX LAUGH</h5>
+
+<div class="stanza">
+<span class="i0">You'se heared a many a gal laugh,<br /></span>
+<span class="i0">An' say: "He! He-he! He-he-he!"<br /></span>
+<span class="i0">But you hain't heared no boy laugh,<br /></span>
+<span class="i0">An' say: "She! She-she! She-she-she!"<br /></span>
+</div></div>
+
+<p><!-- Page 103 --><span class='pagenum'><a name="Page_103" id="Page_103">[Pg 103]</a></span></p>
+
+<div class="poem">
+
+<h5>OUTRUNNING THE DEVIL</h5>
+
+<div class="stanza">
+<span class="i0">I went upon de mountain,<br /></span>
+<span class="i0">An' I seed de Devil comin'.<br /></span>
+<span class="i0">I retched an' got my hat an' coat,<br /></span>
+<span class="i0">An' I beat de Devil runnin'.<br /></span>
+</div><div class="stanza">
+<span class="i0">As I run'd down across de fiel',<br /></span>
+<span class="i0">A rattlesnake bit me on de heel.<br /></span>
+<span class="i0">I rears an' pitches an' does my bes',<br /></span>
+<span class="i0">An' I falls right back in a hornet's nes'.<br /></span>
+</div><div class="stanza">
+<span class="i0">For w'en I wus a sinnah man,<br /></span>
+<span class="i0">I rund by leaps an' boun's.<br /></span>
+<span class="i0">I wus afeard de Devil 'ould ketch me<br /></span>
+<span class="i0">Wid his ole three legged houn's.<br /></span>
+</div><div class="stanza">
+<span class="i0">But now I'se come a Christun,<br /></span>
+<span class="i0">I kneels right down an' prays,<br /></span>
+<span class="i0">An' den de Devil runs from me&mdash;<br /></span>
+<span class="i0">I'se tried dem other ways.<br /></span>
+</div></div>
+
+<p><!-- Page 104 --><span class='pagenum'><a name="Page_104" id="Page_104">[Pg 104]</a></span></p>
+
+<div class="poem">
+
+<h5>HOW TO KEEP OR KILL THE DEVIL</h5>
+
+<div class="stanza">
+<span class="i0">If you wants to see de Devil smile,<br /></span>
+<span class="i0">Simpully do lak his own chile.<br /></span>
+</div><div class="stanza">
+<span class="i0">If you wants to see de Devil git spunk,<br /></span>
+<span class="i0">Swallow whisky, an' git drunk.<br /></span>
+</div><div class="stanza">
+<span class="i0">If you wants to see de Devil live,<br /></span>
+<span class="i0">Cuss an' swar an' never give.<br /></span>
+</div><div class="stanza">
+<span class="i0">If you wants to see de Devil run,<br /></span>
+<span class="i0">Jes tu'n a loose de Gospel gun.<br /></span>
+</div><div class="stanza">
+<span class="i0">If you wants to see de Devil fall,<br /></span>
+<span class="i0">Hit him wid de Gospel ball.<br /></span>
+</div><div class="stanza">
+<span class="i0">If you wants to see de Devil beg,<br /></span>
+<span class="i0">Nail him wid a Gospel peg.<br /></span>
+</div><div class="stanza">
+<span class="i0">If you wants to see de Devil sick,<br /></span>
+<span class="i0">Beat him wid a Gospel stick.<br /></span>
+</div><div class="stanza">
+<span class="i0">If you wants to see de Devil die,<br /></span>
+<span class="i0">Feed him up on Gospel pie.<br /></span>
+</div><div class="stanza">
+<span class="i0">But de Devil w'ars dat iron shoe,<br /></span>
+<span class="i0">An' if you don't watch, he'll slip it on you.<br /></span>
+</div></div>
+
+<p><!-- Page 105 --><span class='pagenum'><a name="Page_105" id="Page_105">[Pg 105]</a></span></p>
+
+<div class="poem">
+
+<h5>JOHN HENRY</h5>
+
+<div class="stanza">
+<span class="i0">John Henry, he wus a steel-drivin' man.<br /></span>
+<span class="i0">He died wid his hammer in his han'.<br /></span>
+<span class="i0">O come long boys, an' line up de track,<br /></span>
+<span class="i0">For John Henry, he hain't never comin' back.<br /></span>
+</div><div class="stanza">
+<span class="i0">John Henry said to his Cappun: "Boss,<br /></span>
+<span class="i0">A man hain't nothin' but a man,<br /></span>
+<span class="i0">An' 'fore I'll be beat in dis sexion gang,<br /></span>
+<span class="i0">I'll die wid a hammer in my han'."<br /></span>
+</div><div class="stanza">
+<span class="i0">John Henry, he had a liddle boy,<br /></span>
+<span class="i0">He helt 'im in de pam of his han';<br /></span>
+<span class="i0">An' de las' word he say to dat chile wus:<br /></span>
+<span class="i0">"I wants you to be my steel-drivin' man."<br /></span>
+</div><div class="stanza">
+<span class="i0">John Henry, he had a pretty liddle wife,<br /></span>
+<span class="i0">An' her name, it wus Polly Ann.<br /></span>
+<span class="i0">She walk down de track, widout lookin' back,<br /></span>
+<span class="i0">For to see her big fine steel-drivin' man.<br /></span>
+</div><div class="stanza">
+<span class="i0">John Henry had dat pretty liddle wife,<br /></span>
+<span class="i0">An' she went all dress up in red.<br /></span>
+<span class="i0">She walk ev'y day down de railroad track<br /></span>
+<span class="i0">To de place whar her steel-drivin' man fell dead.<br /></span>
+</div></div>
+
+<p><!-- Page 106 --><span class='pagenum'><a name="Page_106" id="Page_106">[Pg 106]</a></span></p>
+
+<div class="poem">
+
+<h5><a name="FNanchor_31_31" id="FNanchor_31_31"></a>
+<a href="#Footnote_31_31" class="fnanchor">[31]</a>THE NASHVILLE LADIES</h5>
+
+<div class="stanza">
+<span class="i0">Dem Nashville ladies dress up fine.<br /></span>
+<span class="i0">Got longpail hoopskirts hanging down beh&#299;n'!<br /></span>
+<span class="i0">Got deir bonnets to deir shoulders an' deir noses in de sky!<br /></span>
+<span class="i0">Big pig! Liddle pig! Root hog, or die!<br /></span>
+</div></div>
+
+<div class="footnotes">
+<div class="footnote"><p><a name="Footnote_31_31" id="Footnote_31_31"></a><a href="#FNanchor_31_31"><span class="label">[31]</span></a> The name of the place was used where the rhyme was
+repeated.</p></div>
+</div>
+
+<div class="poem">
+
+<h5>THE RASCAL</h5>
+
+<div class="stanza">
+<span class="i0">I'se de bigges' rascal fer my age.<br /></span>
+<span class="i0">I now speaks from dis public stage.<br /></span>
+<span class="i0">I'se stole a cow; I'se stole a calf,<br /></span>
+<span class="i0">An' dat hain't more 'an jes 'bout half.<br /></span>
+</div><div class="stanza">
+<span class="i0">Yes, Mosser!&mdash;Lover of my soul!&mdash;<br /></span>
+<span class="i0">"How many chickens has I stole?"<br /></span>
+<span class="i0">Well; three las' night, an' two night befo';<br /></span>
+<span class="i0">An' I'se gwine 'fore long to git four m&#333;'.<br /></span>
+</div><div class="stanza">
+<span class="i0">But you see dat hones' Billy Ben,<br /></span>
+<span class="i0">He done e't more dan erry three men.<br /></span>
+<span class="i0">He e't a ham, den e't a side;<br /></span>
+<span class="i0">He would a e't m&#333;', but you know he died.<br /></span>
+</div></div>
+
+<p><!-- Page 107 --><span class='pagenum'><a name="Page_107" id="Page_107">[Pg 107]</a></span></p>
+
+<div class="poem">
+
+<h5>COFFEE GROWS ON WHITE FOLKS' TREES</h5>
+
+<div class="stanza">
+<span class="i0">Coffee grows on w'ite folks' trees,<br /></span>
+<span class="i0">But de Nigger can git dat w'en he please.<br /></span>
+<span class="i0">De w'ite folks loves deir milk an' brandy,<br /></span>
+<span class="i0">But dat black gal's sweeter dan 'lasses candy.<br /></span>
+</div><div class="stanza">
+<span class="i0">Coffee grows on w'ite folks trees,<br /></span>
+<span class="i0">An' dere's a river dat runs wid milk an' brandy.<br /></span>
+<span class="i0">De rocks is broke an' filled wid gold,<br /></span>
+<span class="i0">So dat yaller gal loves dat high-hat dandy.<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5>AUNT JEMIMA</h5>
+
+<div class="stanza">
+<span class="i0">Ole Aunt Jemima grow so tall,<br /></span>
+<span class="i0">Dat she couldn' see de groun'.<br /></span>
+<span class="i0">She stumped her toe, an' down she fell<br /></span>
+<span class="i0">From de Blackwoods clean to town.<br /></span>
+</div><div class="stanza">
+<span class="i0">W'en Aunt Jemima git in town,<br /></span>
+<span class="i0">An' see dem "tony" ways,<br /></span>
+<span class="i0">She natchully faint an' back she fell<br /></span>
+<span class="i0">To de Backwoods whar she stays.<br /></span>
+</div></div>
+
+<p><!-- Page 108 --><span class='pagenum'><a name="Page_108" id="Page_108">[Pg 108]</a></span></p>
+
+<div class="poem">
+
+<h5>THE MULE'S NATURE</h5>
+
+<div class="stanza">
+<span class="i0">If you sees a mule tied up to a tree,<br /></span>
+<span class="i0">You mought pull his tail an' think about me.<br /></span>
+<span class="i0">For if a Nigger don't know de natcher of a mule,<br /></span>
+<span class="i0">It makes no diffunce what 'comes of a fool.<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5>I'M A "ROUND-TOWN" GENTLEMAN</h5>
+
+<div class="stanza">
+<span class="i0">I hain't no wagon, hain't no dray,<br /></span>
+<span class="i0">Jes come to town wid a load o' hay.<br /></span>
+<span class="i0">I hain't no cornfield to go to bed<br /></span>
+<span class="i0">Wid a lot o' hay-seeds in my head.<br /></span>
+<span class="i0">I'se a "round-town" Gent an' I don't choose<br /></span>
+<span class="i0">To wuk in de mud, an' do widout shoes.<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5>THIS SUN IS HOT</h5>
+
+<div class="stanza">
+<span class="i0">Dis sun are hot,<br /></span>
+<span class="i0">Dis hoe are heavy,<br /></span>
+<span class="i0">Dis grass grow furder dan I can reach;<br /></span>
+<span class="i0">An' as I looks<br /></span>
+<span class="i0">At dis Cotton fiel',<br /></span>
+<span class="i0">I thinks I mus' 'a' been called to preach.<br /></span>
+</div></div>
+
+<p><!-- Page 109 --><span class='pagenum'><a name="Page_109" id="Page_109">[Pg 109]</a></span></p>
+
+<div class="poem">
+
+<h5>UNCLE JERRY FANTS</h5>
+
+<div class="stanza">
+<span class="i0">Has you heared 'bout Uncle Jerry Fants?<br /></span>
+<span class="i0">He's got on some cu'ious shapes.<br /></span>
+<span class="i0">He's de one what w'ars dem white duck pants,<br /></span>
+<span class="i0">An' he sot down on a bunch o' grapes.<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5>KEPT BUSY</h5>
+
+<div class="stanza">
+<span class="i0">Jes as soon as de sun go down,<br /></span>
+<span class="i0">My True-love's on my min'.<br /></span>
+<span class="i0">An' jes as soon as de daylight breaks<br /></span>
+<span class="i0">De white folks is got me a gwine.<br /></span>
+</div><div class="stanza">
+<span class="i0">She's de sweetes' thing in town;<br /></span>
+<span class="i0">An' when I sees dat Nig,<br /></span>
+<span class="i0">She make my heart go "pitty-pat,"<br /></span>
+<span class="i0">An' my head go "whirly-gig."<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5>CROSSING A FOOT-LOG</h5>
+
+<div class="stanza">
+<span class="i0">Me an' my wife an' my bobtail dog<br /></span>
+<span class="i0">Start 'cross de creek on a hick'ry log.<br /></span>
+<span class="i0">We all fall in an' git good wet,<br /></span>
+<span class="i0">But I helt to my liddle brown jug, you bet!<br /></span>
+</div></div>
+
+<p><!-- Page 110 --><span class='pagenum'><a name="Page_110" id="Page_110">[Pg 110]</a></span></p>
+
+<div class="poem">
+
+<h5>WATERMELON PREFERRED</h5>
+
+<div class="stanza">
+<span class="i0">Dat hambone an' chicken are sweet.<br /></span>
+<span class="i0">Dat 'possum meat are sholy fine.<br /></span>
+<span class="i0">But give me,&mdash;now don't you cheat!&mdash;<br /></span>
+<span class="i0">(Oh, I jes wish you would give me!)<br /></span>
+<span class="i0">Dat watermillion, smilin' on de vine.<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5>"THEY STEAL" GOSSIP</h5>
+
+<div class="stanza">
+<span class="i0"><i>You know:</i><br /></span>
+<span class="i2">Some folks say dat a Nigger won't steal,<br /></span>
+<span class="i2">But Mosser cotch six in a watermillion fiel';<br /></span>
+<span class="i2">A-cuttin', an' a-pluggin' an' a-tearin' up de vines,<br /></span>
+<span class="i2">A-eatin' all de watermillions, an' a-stackin' up de rinds.<br /></span>
+</div><div class="stanza">
+<span class="i0"><i>Uh-huh! Yes, I heared dat:</i><br /></span>
+<span class="i2">Ole Mosser stole a middlin' o' meat,<br /></span>
+<span class="i2">Ole Missus stole a ham;<br /></span>
+<span class="i2">Dey sent 'em bofe to de Wuk-house,<br /></span>
+<span class="i2">An' dey had to leave de land.<br /></span>
+</div></div>
+
+<p><!-- Page 111 --><span class='pagenum'><a name="Page_111" id="Page_111">[Pg 111]</a></span></p>
+
+<div class="poem">
+
+<h5>FOX AND RABBIT DRINKING PROPOSITIONS</h5>
+
+<div class="stanza">
+<span class="i0">Fox on de low ground,<br /></span>
+<span class="i0">Rabbit on de hill.<br /></span>
+<span class="i0">Says he: "I'll take a drink,<br /></span>
+<span class="i0">An' leave you a gill."<br /></span>
+</div><div class="stanza">
+<span class="i0">De fox say: "Honey,<br /></span>
+<span class="i0">(You sweet liddle elf!)<br /></span>
+<span class="i0">Jes hand me down de whole cup;<br /></span>
+<span class="i0">I wants it fer myself."<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5>A TURKEY FUNERAL</h5>
+
+<div class="stanza">
+<span class="i0">Dis tucky once on earth did dwell;<br /></span>
+<span class="i0">An' "Gobble! Gobble! Gobble!"<br /></span>
+<span class="i0">But now he gives me bigges' joy,<br /></span>
+<span class="i0">An' rests from all his trouble.<br /></span>
+</div><div class="stanza">
+<span class="i0">Yes, now he's happy, so am I;<br /></span>
+<span class="i0">No hankerin' fer a feas':<br /></span>
+<span class="i0">Because I'se stuffed wid tucky meat,<br /></span>
+<span class="i0">An' he struts in tucky peace.<br /></span>
+</div></div>
+
+<p><!-- Page 112 --><span class='pagenum'><a name="Page_112" id="Page_112">[Pg 112]</a></span></p>
+
+<div class="poem">
+
+<h5>OUR OLD MULE</h5>
+
+<div class="stanza">
+<span class="i0">We had an ole mule an' he wouldn' go "gee";<br /></span>
+<span class="i0">So I knocked 'im down wid a single-tree.<br /></span>
+<span class="i0">To daddy dis wus some mighty bad news,<br /></span>
+<span class="i0">So he made me jump up an' outrun de Jews.<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5>THE COLLEGE OX</h5>
+
+<div class="stanza">
+<span class="i0">Ole Ox! Ole Ox! How'd you come up here?<br /></span>
+<span class="i0">You'se sh&#333;' plowed de cotton fields for many a, many a year.<br /></span>
+<span class="i0">You'se been kicked an' cuffed about wid heaps an' heaps abuse.<br /></span>
+<span class="i0">Now! Now, you comes up here fer some sort o' College use.<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5>CARE IN BREAD-MAKING</h5>
+
+<div class="stanza">
+<span class="i0">W'en you sees dat gal o' mine,<br /></span>
+<span class="i0">Jes tell 'er fer me, if you please,<br /></span>
+<span class="i0">Nex' time she goes to make up bread<br /></span>
+<span class="i0">To roll up 'er dirty sleeves.<br /></span>
+</div></div>
+
+<p><!-- Page 113 --><span class='pagenum'><a name="Page_113" id="Page_113">[Pg 113]</a></span></p>
+
+<div class="poem">
+
+<h5>WHY LOOK AT ME?</h5>
+
+<div class="stanza">
+<span class="i0">What's you lookin' at me fer?<br /></span>
+<span class="i0">I didn' come here to stay.<br /></span>
+<span class="i0">I wants dis bug put in y&#333;' years,<br /></span>
+<span class="i0">An' den I'se gwine away.<br /></span>
+</div><div class="stanza">
+<span class="i0">I'se got milk up in my bucket,<br /></span>
+<span class="i0">I'se got butter up in my bowl;<br /></span>
+<span class="i0">But I hain't got no Sweetheart<br /></span>
+<span class="i0">Fer to save my soul.<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5>A SHORT LETTER</h5>
+
+<div class="stanza">
+<span class="i0">She writ me a letter<br /></span>
+<span class="i0">As long as my eye.<br /></span>
+<span class="i0">An' she say in dat letter:<br /></span>
+<span class="i0">"My Honey!&mdash;Good-by!"<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5>DOES MONEY TALK?</h5>
+
+<div class="stanza">
+<span class="i0">Dem whitefolks say dat money talk.<br /></span>
+<span class="i0">If it talk lak dey tell,<br /></span>
+<span class="i0">Den ev'ry time it come to Sam,<br /></span>
+<span class="i0">It up an' say: "Farewell!"<br /></span>
+</div></div>
+
+<p><!-- Page 114 --><span class='pagenum'><a name="Page_114" id="Page_114">[Pg 114]</a></span></p>
+
+<div class="poem">
+
+<h5>I'LL EAT WHEN I'M HUNGRY</h5>
+
+<div class="stanza">
+<span class="i0">I'll eat when I'se hongry,<br /></span>
+<span class="i0">An' I'll drink when I'se dry;<br /></span>
+<span class="i0">An' if de whitefolks don't kill me,<br /></span>
+<span class="i0">I'll live till I die.<br /></span>
+</div><div class="stanza">
+<span class="i0">In my liddle log cabin,<br /></span>
+<span class="i0">Ever since I'se been born;<br /></span>
+<span class="i0">Dere hain't been no nothin'<br /></span>
+<span class="i0">'Cept dat hard salt parch corn.<br /></span>
+</div><div class="stanza">
+<span class="i0">But I knows whar's a henhouse,<br /></span>
+<span class="i0">An' de tucky he charve;<br /></span>
+<span class="i0">An' if ole Mosser don't kill me,<br /></span>
+<span class="i0">I cain't never starve.<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5>HEAR-SAY</h5>
+
+<div class="stanza">
+<span class="i0">Hello! Br'er Jack. How do you do?<br /></span>
+<span class="i0">I'se been a-hearin' a heaps o' things 'bout you.<br /></span>
+<span class="i0">I'll jes declar! It beats de Dickuns!<br /></span>
+<span class="i0">Dey's been tryin' to say you's been a-stealin' chickens!<br /></span>
+</div></div>
+
+<p><!-- Page 115 --><span class='pagenum'><a name="Page_115" id="Page_115">[Pg 115]</a></span></p>
+
+<div class="poem">
+
+<h5>NEGRO SOLDIER'S CIVIL WAR CHANT</h5>
+
+<div class="stanza">
+<span class="i0">Ole <a name="FNanchor_32_32" id="FNanchor_32_32"></a><a href="#Footnote_32_32" class="fnanchor">[32]</a>Abe (God bless 'is ole soul!)<br /></span>
+<span class="i0">Got a plenty good victuals, an' a plenty good clo'es.<br /></span>
+<span class="i0">Got powder, an' shot, an' lead,<br /></span>
+<span class="i0">To bust in Adam's liddle Confed'<br /></span>
+<span class="i0">In dese hard times.<br /></span>
+</div><div class="stanza">
+<span class="i0">Oh, once dere wus union, an' den dere wus peace;<br /></span>
+<span class="i0">De slave, in de cornfield, bare up to his knees.<br /></span>
+<span class="i0">But de Rebel's in gray, an' Sesesh's in de way,<br /></span>
+<span class="i0">An' de slave'll be free<br /></span>
+<span class="i0">In dese hard times.<br /></span>
+</div></div>
+
+<div class="footnotes">
+<div class="footnote"><p><a name="Footnote_32_32" id="Footnote_32_32"></a><a href="#FNanchor_32_32"><span class="label">[32]</span></a> Abraham Lincoln.</p></div>
+</div>
+
+<div class="poem">
+
+<h5>PARODY ON "NOW I LAY ME DOWN TO SLEEP"</h5>
+
+<div class="stanza">
+<span class="i0">Uh-huh: "Now I lays me down to sleep!"&mdash;<br /></span>
+<span class="i0">While dead oudles o' bedbugs 'round me creep,&mdash;<br /></span>
+<span class="i0">Well: If dey bites me bef&#333;' "I" wake,<br /></span>
+<span class="i0">I hopes "deir" ole jawbones'll break.<br /></span>
+</div></div>
+
+<p><!-- Page 116 --><span class='pagenum'><a name="Page_116" id="Page_116">[Pg 116]</a></span></p>
+
+<div class="poem">
+
+<h5>I'LL GET YOU, RABBIT!</h5>
+
+<div class="stanza">
+<span class="i0">Rabbit! Rabbit! You'se got a mighty habit,<br /></span>
+<span class="i0">A-runnin' through de grass,<br /></span>
+<span class="i0">Eatin' up my cabbages;<br /></span>
+<span class="i0">But I'll git you shore at las'.<br /></span>
+</div><div class="stanza">
+<span class="i0">Rabbit! Rabbit! Ole rabbit in de bottoms,<br /></span>
+<span class="i0">A-playin' in de san',<br /></span>
+<span class="i0">By to-morrow mornin',<br /></span>
+<span class="i0">You'll be in my fryin' pan.<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5>THE ELEPHANT</h5>
+
+<div class="stanza">
+<span class="i0">My mammy gimme fifteen cents<br /></span>
+<span class="i0">Fer to see dat elephan' jump de fence.<br /></span>
+<span class="i0">He jump so high, I didn' see why,<br /></span>
+<span class="i0">If she gimme a dollar he mought not cry.<br /></span>
+</div><div class="stanza">
+<span class="i0">So I axed my mammy to gimme a dollar,<br /></span>
+<span class="i0">Fer to go an' hear de elephan' holler.<br /></span>
+<span class="i0">He holler so loud, he skeered de crowd.<br /></span>
+</div><div class="stanza">
+<span class="i0">Nex' he jump so high, he tetch de sky;<br /></span>
+<span class="i0">An' he won't git back 'fore de fo'th o' July.<br /></span>
+</div></div>
+
+<p><!-- Page 117 --><span class='pagenum'><a name="Page_117" id="Page_117">[Pg 117]</a></span></p>
+
+<div class="poem">
+
+<h5>A FEW NEGROES BY STATES</h5>
+
+<div class="stanza">
+<span class="i0">Alabammer Nigger say he love mush.<br /></span>
+<span class="i0">Tennessee Nigger say: "Good Lawd, hush!"<br /></span>
+</div><div class="stanza">
+<span class="i0">Fifteen cents in de panel of de fence,<br /></span>
+<span class="i0">South Ca'lina Nigger hain't got no sense.<br /></span>
+</div><div class="stanza">
+<span class="i0">Dat Kentucky Nigger jes think he's fine,<br /></span>
+<span class="i0">'Cause he drink dat Gooseberry wine.<br /></span>
+</div><div class="stanza">
+<span class="i0">I'se done heared some twenty year ago<br /></span>
+<span class="i0">Dat de Missippi Nigger hafter sleep on de fl&#333;'.<br /></span>
+</div><div class="stanza">
+<span class="i0">Lousanner Nigger fall out'n de bed,<br /></span>
+<span class="i0">An' break his head on a pone o' co'n bread.<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5>HOW TO PLEASE A PREACHER</h5>
+
+<div class="stanza">
+<span class="i0">If you wants to see dat Preachah laugh,<br /></span>
+<span class="i0">Jes change up a dollar, an' give 'im a half.<br /></span>
+<span class="i0">If you wants to make dat Preachah sing,<br /></span>
+<span class="i0">Kill dat tucky an' give him a wing.<br /></span>
+<span class="i0">If you wants to see dat Preachah cry,<br /></span>
+<span class="i0">Kill dat chicken an' give him a thigh.<br /></span>
+</div></div>
+
+<p><!-- Page 118 --><span class='pagenum'><a name="Page_118" id="Page_118">[Pg 118]</a></span></p>
+
+<div class="poem">
+
+<h5>LOOKING FOR A FIGHT</h5>
+
+<div class="stanza">
+<span class="i0">I went down town de yudder night,<br /></span>
+<span class="i0">A-raisin' san' an' a-wantin' a fight.<br /></span>
+<span class="i0">Had a forty dollar razzer, an' a gatlin' gun,<br /></span>
+<span class="i0">Fer to shoot dem Niggers down one by one.<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5>I'LL WEAR ME A COTTON DRESS</h5>
+
+<div class="stanza">
+<span class="i0">Oh, will you wear red? Oh, will you wear red?<br /></span>
+<span class="i0">Oh, will you wear red, Milly Biggers?<br /></span>
+<span class="i0">"I won't wear red,<br /></span>
+<span class="i0">It's too much lak Missus' head.<br /></span>
+<span class="i0">I'll wear me a cotton dress,<br /></span>
+<span class="i0">Dyed wid copperse an' oak-bark."<br /></span>
+</div><div class="stanza">
+<span class="i0">Oh, will you wear blue? Oh, will you wear blue?<br /></span>
+<span class="i0">Oh, will you wear blue, Milly Biggers?<br /></span>
+<span class="i0">"I won't wear blue,<br /></span>
+<span class="i0">It's too much lak Missus' shoe.<br /></span>
+<span class="i0">I'll wear me a cotton dress,<br /></span>
+<span class="i0">Dyed wid copperse an' oak-bark."<br /></span>
+</div><div class="stanza">
+<!-- Page 119 --><span class='pagenum'><a name="Page_119" id="Page_119">[Pg 119]</a></span><span class="i0">You sholy would wear gray? You sholy would wear gray?<br /></span>
+<span class="i0">You sholy would wear gray, Milly Biggers?<br /></span>
+<span class="i0">"I won't wear gray,<br /></span>
+<span class="i0">It's too much lak Missus' way.<br /></span>
+<span class="i0">I'll wear me a cotton dress,<br /></span>
+<span class="i0">Dyed wid copperse an' oak-bark."<br /></span>
+</div><div class="stanza">
+<span class="i0">Well, will you wear white? Well, will you wear white?<br /></span>
+<span class="i0">Well, will you wear white, Milly Biggers?<br /></span>
+<span class="i0">"I won't wear white,<br /></span>
+<span class="i0">I'd get dirty long 'fore night.<br /></span>
+<span class="i0">I'll wear me a cotton dress,<br /></span>
+<span class="i0">Dyed wid copperse an' oak-bark."<br /></span>
+</div><div class="stanza">
+<span class="i0">Now, will you wear black? Now, will you wear black?<br /></span>
+<span class="i0">Now, will you wear black, Milly Biggers?<br /></span>
+<span class="i0">"I mought wear black,<br /></span>
+<span class="i0">Case it's de color o' my back;<br /></span>
+<span class="i0">An' it looks lak my cotton dress,<br /></span>
+<span class="i0">Dyed wid <a name="FNanchor_33_33" id="FNanchor_33_33"></a><a href="#Footnote_33_33" class="fnanchor">[33]</a>copperse an' oak-bark."<br /></span>
+</div></div>
+
+<div class="footnotes">
+<div class="footnote"><p><a name="Footnote_33_33" id="Footnote_33_33"></a><a href="#FNanchor_33_33"><span class="label">[33]</span></a> Copperse is copperas, or sulphate of iron.</p></div>
+</div>
+
+<p><!-- Page 120 --><span class='pagenum'><a name="Page_120" id="Page_120">[Pg 120]</a></span></p>
+
+<div class="poem">
+
+<h5>HALF WAY DOINGS</h5>
+
+<div class="stanza">
+<span class="i0">My dear Brudders an' Sisters,<br /></span>
+<span class="i0">As I comes here to-day,<br /></span>
+<span class="i0">I hain't gwineter take no scripture verse<br /></span>
+<span class="i0">Fer what I'se gwineter say.<br /></span>
+</div><div class="stanza">
+<span class="i0">My words I'se gwineter cut off short<br /></span>
+<span class="i0">An' I 'spects to use dis tex':<br /></span>
+<span class="i0">"Dis half way doin's hain't no 'count<br /></span>
+<span class="i0">Fer dis worl' nor de nex'."<br /></span>
+</div><div class="stanza">
+<span class="i0">Dis half way doin's, Brudderin,<br /></span>
+<span class="i0">Won't never do, I say.<br /></span>
+<span class="i0">Go to y&#333;' wuk, an' git it done,<br /></span>
+<span class="i0">An' den's de time to play.<br /></span>
+</div><div class="stanza">
+<span class="i0">Fer w'en a Nigger gits lazy,<br /></span>
+<span class="i0">An' stops to take short naps,<br /></span>
+<span class="i0">De weeds an' grass is shore to grow<br /></span>
+<span class="i0">An' smudder out his craps.<br /></span>
+</div><div class="stanza">
+<span class="i0">Dis worl' dat we's a livin' in<br /></span>
+<span class="i0">Is sumpen lak a cotton row:<br /></span>
+<span class="i0">Whar each an' ev'ry one o' us<br /></span>
+<span class="i0">Is got his row to hoe.<br /></span>
+</div><div class="stanza">
+<!-- Page 121 --><span class='pagenum'><a name="Page_121" id="Page_121">[Pg 121]</a></span><span class="i0">An' w'en de cotton's all laid by,<br /></span>
+<span class="i0">De rain, it spile de bowls,<br /></span>
+<span class="i0">If you don't keep busy pickin'<br /></span>
+<span class="i0">In de cotton fiel' of y&#333;' souls.<br /></span>
+</div><div class="stanza">
+<span class="i0">Keep on a-plowin', an' a-hoein';<br /></span>
+<span class="i0">Keep on scrapin' off de rows;<br /></span>
+<span class="i0">An' w'en de year is over<br /></span>
+<span class="i0">You can pay off all you owes.<br /></span>
+</div><div class="stanza">
+<span class="i0">But w'en you sees a lazy Nigger<br /></span>
+<span class="i0">Stop workin', shore's you're born,<br /></span>
+<span class="i0">You'se gwineter see him comin' out<br /></span>
+<span class="i0">At de liddle end of de horn.<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5>TWO TIMES ONE</h5>
+
+<div class="stanza">
+<span class="i0">Two times one is two.<br /></span>
+<span class="i0">Won't you jes keep still till I gits through?<br /></span>
+<span class="i0">Three times three is nine.<br /></span>
+<span class="i0">You 'tend to y&#333;' business, an' I'll 'tend to mine.<br /></span>
+</div></div>
+
+<p><!-- Page 122 --><span class='pagenum'><a name="Page_122" id="Page_122">[Pg 122]</a></span></p>
+
+<div class="poem">
+
+<h5>HE PAID ME SEVEN (PARODY)</h5>
+
+<div class="stanza">
+<span class="i0">"Our Fadder, Which are in Heaben!"&mdash;<br /></span>
+<span class="i0">White man owe me leben and pay me seben.<br /></span>
+<span class="i0">"D'y Kingdom come! D'y Will be done!"&mdash;<br /></span>
+<span class="i0">An' if I hadn't tuck dat, I wouldn' git none.<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5>PARODY ON "REIGN, MASTER JESUS, REIGN!"</h5>
+
+<div class="stanza">
+<span class="i0">Oh rain! Oh rain! Oh rain, "good" Mosser!<br /></span>
+<span class="i0">Rain, Mosser, rain! Rain hard!<br /></span>
+<span class="i0">Rain flour an' lard an' a big hog head<br /></span>
+<span class="i0">Down in my back yard.<br /></span>
+</div><div class="stanza">
+<span class="i0">An' w'en you comes down to my cabin,<br /></span>
+<span class="i0">Come down by de corn fiel'.<br /></span>
+<span class="i0">If you cain't bring me a piece o' meat,<br /></span>
+<span class="i0">Den bring me a peck o' meal.<br /></span>
+</div><div class="stanza">
+<span class="i0">Oh rain! Oh rain! Oh rain, "good" Mosser!<br /></span>
+<span class="i0">Dat good rain gives m&#333;' rest.<br /></span>
+<span class="i0">"What d'you say? You Nigger, dar!"&mdash;<br /></span>
+<span class="i0">"Wet ground grows grass best."<br /></span>
+</div></div>
+
+<p><!-- Page 123 --><span class='pagenum'><a name="Page_123" id="Page_123">[Pg 123]</a></span></p>
+
+<div class="poem">
+
+<h5>A REQUEST TO SELL</h5>
+
+<div class="stanza">
+<span class="i0">Gwineter ax my daddy to sell ole Rose,<br /></span>
+<span class="i0">So's I can git me some new cl&#333;'s.<br /></span>
+<span class="i0">Gwineter ax my daddy to sell ole Nat,<br /></span>
+<span class="i0">So's I can git a bran' new hat.<br /></span>
+<span class="i0">Gwineter ax my daddy to sell ole Bruise,<br /></span>
+<span class="i0">Den I can git some Brogran shoes.<br /></span>
+<span class="i0">Now, I'se gwineter fix myse'f "jes so,"<br /></span>
+<span class="i0">An' take myse'f down to Big Shiloh.<br /></span>
+<span class="i0">I'se gwine right down to Big Shiloh<br /></span>
+<span class="i0">To take dat t'other Nigger's beau.<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5>WE'LL STICK TO THE HOE</h5>
+
+<div class="stanza">
+<span class="i0">We'll stick to de hoe, till de sun go down.<br /></span>
+<span class="i0">We'll rise w'en de rooster crow,<br /></span>
+<span class="i0">An' go to de fiel' whar de sun shine hot,<br /></span>
+<span class="i0">To de fiel' whar de sugar cane grow.<br /></span>
+<span class="i0">Yes, Chilluns, we'll all go!<br /></span>
+<span class="i0">We'll go to de fiel' whar de sun shine hot.<br /></span>
+<span class="i0">To de fiel' whar de sugar cane grow.<br /></span>
+</div><div class="stanza">
+<!-- Page 124 --><span class='pagenum'><a name="Page_124" id="Page_124">[Pg 124]</a></span><span class="i0">Oh, sing 'long boys, fer de wuk hain't hard!<br /></span>
+<span class="i0">Oh scrape an' clean up de row.<br /></span>
+<span class="i0">Fer de grass musn' grow, while de sun shine hot,<br /></span>
+<span class="i0">In de fiel' whar de sugar cane grow.<br /></span>
+<span class="i0">No, Chilluns. No, No!<br /></span>
+<span class="i0">Dat grass musn' grow, while de sun shine hot,<br /></span>
+<span class="i0">In de fiel' whar de sugar cane grow.<br /></span>
+</div><div class="stanza">
+<span class="i0">Don't think 'bout de time, fer de time hain't long.<br /></span>
+<span class="i0">Y&#333;' life soon come an' go;<br /></span>
+<span class="i0">Den good-bye fiel' whar de sun shine hot,<br /></span>
+<span class="i0">To de fiel' whar de sugar cane grow.<br /></span>
+<span class="i0">Yes, Chilluns. We'll all go!<br /></span>
+<span class="i0">Good-by to de fiel' whar de sun shine hot,<br /></span>
+<span class="i0">To de fiel' whar de sugar cane grow.<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5>A FINE PLASTER</h5>
+
+<div class="stanza">
+<span class="i0">W'en it's sheep skin an' beeswax,<br /></span>
+<span class="i0">It sh&#333;'s a mighty fine plaster:<br /></span>
+<span class="i0">De m&#333;' you tries to pull it off,<br /></span>
+<span class="i0">De m&#333;' it sticks de faster.<br /></span>
+</div></div>
+
+<p><!-- Page 125 --><span class='pagenum'><a name="Page_125" id="Page_125">[Pg 125]</a></span></p>
+
+<div class="poem">
+
+<h5>A DAY'S HAPPINESS</h5>
+
+<div class="stanza">
+<span class="i0">Fust: I went out to milk an' I didn' know how,<br /></span>
+<span class="i2">I milked dat goat instid o' dat cow;<br /></span>
+<span class="i2">While a Nigger a-settin' wid a gapin' jaw,<br /></span>
+<span class="i2">Kept winkin' his eye at a tucky in de straw.<br /></span>
+</div><div class="stanza">
+<span class="i0">Den:  &nbsp;I went out de gate an' I went down de road,<br /></span>
+<span class="i2">An' I met Miss 'Possum an' I met Mistah Toad;<br /></span>
+<span class="i2">An' ev'y time Miss 'Possum 'ould sing,<br /></span>
+<span class="i2">Mistah Toad 'ould cut dat Pigeon's Wing.<br /></span>
+</div><div class="stanza">
+<span class="i0">But: &nbsp;I went in a whoop, as I went down de road;<br /></span>
+<span class="i2">I had a bawky team an' a heavy load.<br /></span>
+<span class="i2">I cracked my whip, an' ole Beck sprung,<br /></span>
+<span class="i2">An' she busted out my wagin tongue.<br /></span>
+</div><div class="stanza">
+<span class="i0">Well: Dat night dere 'us a-gittin' up, shores you're born.<br /></span>
+<span class="i2">&nbsp;De louse go to supper, an' de flea blow de horn.<br /></span>
+<span class="i2">&nbsp;Dat raccoon paced, an' dat 'possum trot;<br /></span>
+<span class="i2">&nbsp;Dat ole goose laid, an' de gander sot.<br /></span>
+</div></div>
+
+<p><!-- Page 126 --><span class='pagenum'><a name="Page_126" id="Page_126">[Pg 126]</a></span></p>
+
+<div class="poem">
+
+<h5>MASTER KILLED A BIG BULL</h5>
+
+<div class="stanza">
+<span class="i0">Mosser killed a big bull,<br /></span>
+<span class="i0">Missus cooked a dish full,<br /></span>
+<span class="i0">Didn't give poor Nigger a mouf full.<br /></span>
+<span class="i2">Humph! Humph!<br /></span>
+</div><div class="stanza">
+<span class="i0">Mosser killed a fat lam'.<br /></span>
+<span class="i0">Missus brung a basket,<br /></span>
+<span class="i0">An' give poor Nigger de haslet.<br /></span>
+<span class="i2">Eh-eh! Eh-eh!<br /></span>
+</div><div class="stanza">
+<span class="i0">Mosser killed a fat hog<br /></span>
+<span class="i0">Missus biled de middlin's,<br /></span>
+<span class="i0">An' give poor Nigger de chitlin's.<br /></span>
+<span class="i2">Sh&#333;! Sh&#333;!<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5>YOU HAD BETTER MIND MASTER</h5>
+
+<div class="stanza">
+<span class="i0">'Way down yon'er in 'Possum Trot,<br /></span>
+<span class="i0">(In ole Miss'sip' whar de sun shines hot)<br /></span>
+<span class="i0">Dere hain't no chickens an' de Niggers eats c'on;<br /></span>
+<span class="i0">You hain't never see'd de lak since youse been bo'n,<br /></span>
+<span class="i0">You'd better m&#299;n' Mosser an' keep a stiff lip,<br /></span>
+<span class="i0">So's you won't git s&#333;l' down to ole Miss'sip'.<br /></span>
+</div></div>
+
+<p><!-- Page 127 --><span class='pagenum'><a name="Page_127" id="Page_127">[Pg 127]</a></span></p>
+
+<h3>Love Rhyme Section</h3>
+
+<div class="poem">
+
+<h5>PRETTY LITTLE PINK</h5>
+
+<div class="stanza">
+<span class="i0">My pretty liddle Pink,<br /></span>
+<span class="i0">I once did think,<br /></span>
+<span class="i0">Dat we-uns sh&#333;' would marry;<br /></span>
+<span class="i0">But I'se done give up,<br /></span>
+<span class="i0">Hain't got no hope,<br /></span>
+<span class="i0">I hain't got no time to tarry.<br /></span>
+<span class="i0">I'll drink coffee dat flows,<br /></span>
+<span class="i0">From oaks dat grows,<br /></span>
+<span class="i0">'Long de river dat flows wid brandy.<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5>A BITTER LOVERS' QUARREL&mdash;ONE SIDE</h5>
+
+<div class="stanza">
+<span class="i0">You nasty dog! You dirty hog!<br /></span>
+<span class="i0">You thinks somebody loves you.<br /></span>
+<span class="i0">I tells you dis to let you know<br /></span>
+<span class="i0">I thinks myse'f above you.<br /></span>
+</div></div>
+
+<p><!-- Page 128 --><span class='pagenum'><a name="Page_128" id="Page_128">[Pg 128]</a></span></p>
+
+<div class="poem">
+
+<h5>ROSES RED</h5>
+
+<div class="stanza">
+<span class="i0">Rose's red, vi'lets blue.<br /></span>
+<span class="i0">Sugar is sweet but not lak you.<br /></span>
+<span class="i0">De vi'lets fade, de roses fall;<br /></span>
+<span class="i0">But you gits sweeter, all in all.<br /></span>
+</div><div class="stanza">
+<span class="i0">As shore as de grass grows 'round de stump,<br /></span>
+<span class="i0">You is my darlin' Sugar Lump.<br /></span>
+<span class="i0">W'en de sun don't shine de day is cold,<br /></span>
+<span class="i0">But my love fer you do not git old.<br /></span>
+</div><div class="stanza">
+<span class="i0">De ocean's deep, de sky is blue;<br /></span>
+<span class="i0">Sugar is sweet, an' so is you;<br /></span>
+<span class="i0">De ocean waves an' de sky gits pale,<br /></span>
+<span class="i0">But my love are true, an' it never fail.<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5>YOU HAVE MADE ME WEEP</h5>
+
+<div class="stanza">
+<span class="i0">You'se made me weep, you'se made me mourn,<br /></span>
+<span class="i0">You'se made me tears an' sorrow.<br /></span>
+<span class="i0">So far' you well, my pretty liddle gal,<br /></span>
+<span class="i0">I'se gwine away to-morrow.<br /></span>
+</div></div>
+
+<p><!-- Page 129 --><span class='pagenum'><a name="Page_129" id="Page_129">[Pg 129]</a></span></p>
+
+<div class="poem">
+
+<h5>MOURNING SLAVE FIANCEES</h5>
+
+<div class="stanza">
+<span class="i0">Look down dat lonesome road! Look down!<br /></span>
+<span class="i0">De way are dark an' c&#333;l'.<br /></span>
+<span class="i0">Dey makes me weep, dey makes me mourn;<br /></span>
+<span class="i0">All 'cause my love are s&#333;l'.<br /></span>
+</div><div class="stanza">
+<span class="i0">O don't you see dat turkle dove,<br /></span>
+<span class="i0">What mourns from vine to vine?<br /></span>
+<span class="i0">She mourns lak I moans fer my love,<br /></span>
+<span class="i0">Lef' many a mile behin'.<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5>DO I LOVE YOU?</h5>
+
+<div class="stanza">
+<span class="i0">Does I love you wid all my heart?&mdash;<br /></span>
+<span class="i0">I loves you wid my liver;<br /></span>
+<span class="i0">An' if I had you in my mouf,<br /></span>
+<span class="i0">I'd spit you in de river.<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5>LOVERS' GOOD-NIGHT</h5>
+
+<div class="stanza">
+<span class="i0">Cotton fields white in de bright moonlight,<br /></span>
+<span class="i0">Now kiss y&#333;' gal' an' say "Good-night."<br /></span>
+<span class="i0">If she don't kiss you, jes go on 'way;<br /></span>
+<span class="i0">Hain't no need a-stayin' ontel nex' day.<br /></span>
+</div></div>
+
+<p><!-- Page 130 --><span class='pagenum'><a name="Page_130" id="Page_130">[Pg 130]</a></span></p>
+
+<div class="poem">
+
+<h5>VINIE</h5>
+
+<div class="stanza">
+<span class="i0">I loves coffee, an' I loves tea.<br /></span>
+<span class="i0">I axes you, Vinie, does you love me?<br /></span>
+</div><div class="stanza">
+<span class="i0">My day's study's Vinie, an' my midnight dreams,<br /></span>
+<span class="i0">My apples, my peaches, my tunnups, an' greens.<br /></span>
+</div><div class="stanza">
+<span class="i0">Oh, I wants dat good 'possum, an' I wants to be free;<br /></span>
+<span class="i0">But I don't need no sugar, if Vinie love me.<br /></span>
+</div><div class="stanza">
+<span class="i0">De river is wide, an' I cain't well step it.<br /></span>
+<span class="i0">I loves you, dear Vinie; an' you know I cain't he'p it.<br /></span>
+</div><div class="stanza">
+<span class="i0">Dat sugar is sweet, an' dat butter is greasy;<br /></span>
+<span class="i0">But I loves you, sweet Vinie; don't be oneasy.<br /></span>
+</div><div class="stanza">
+<span class="i0">Some loves ten, an' some loves twenty,<br /></span>
+<span class="i0">But I loves you, Vinie, an' dat is a plenty.<br /></span>
+</div><div class="stanza">
+<span class="i0">Oh silver, it shine, an' lakwise do tin.<br /></span>
+<span class="i0">De way I loves Vinie, it mus' be a sin.<br /></span>
+</div><div class="stanza">
+<span class="i0">Well, de cedar is green, an' so is de pine.<br /></span>
+<span class="i0">God bless you, Vinie! I wish you 'us mine.<br /></span>
+</div></div>
+
+<p><!-- Page 131 --><span class='pagenum'><a name="Page_131" id="Page_131">[Pg 131]</a></span></p>
+
+<h3>Love Song Rhyme Section</h3>
+
+<div class="poem">
+
+<h5>SHE HUGGED ME AND KISSED ME</h5>
+
+<div class="stanza">
+<span class="i0">I see'd her in de Springtime,<br /></span>
+<span class="i0">I see'd her in de Fall,<br /></span>
+<span class="i0">I see'd her in de Cotton patch,<br /></span>
+<span class="i0">A cameing from de Ball.<br /></span>
+</div><div class="stanza">
+<span class="i0">She hug me, an' she kiss me,<br /></span>
+<span class="i0">She wrung my han' an' cried.<br /></span>
+<span class="i0">She said I wus de sweetes' thing<br /></span>
+<span class="i0">Dat ever lived or died.<br /></span>
+</div><div class="stanza">
+<span class="i0">She hug me an' she kiss me.<br /></span>
+<span class="i0">Oh Heaben! De touch o' her han'!<br /></span>
+<span class="i0">She said I wus de puttiest thing<br /></span>
+<span class="i0">In de shape o' mortal man.<br /></span>
+</div><div class="stanza">
+<span class="i0">I told her dat I love her,<br /></span>
+<span class="i0">Dat my love wus bed-cord strong;<br /></span>
+<span class="i0">Den I axed her w'en she'd have me,<br /></span>
+<span class="i0">An' she jes say "Go long!"<br /></span>
+</div></div>
+
+<p><!-- Page 132 --><span class='pagenum'><a name="Page_132" id="Page_132">[Pg 132]</a></span></p>
+
+<div class="poem">
+
+<h5>IT IS HARD TO LOVE</h5>
+
+<div class="stanza">
+<span class="i0">It's hard to love, yes, indeed 'tis.<br /></span>
+<span class="i0">It's hard to be broke up in min'.<br /></span>
+<span class="i0">You'se all lugged up in some gal's heart,<br /></span>
+<span class="i0">But you hain't gwineter lug up in mine.<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5>ME AND MY LOVER</h5>
+
+<div class="stanza">
+<span class="i0">Me an' my Lover, we fall out.<br /></span>
+<span class="i0">How d'you reckon de fuss begun?<br /></span>
+<span class="i0">She laked licker, an' I laked fun,<br /></span>
+<span class="i0">An' dat wus de way de fuss begun.<br /></span>
+</div><div class="stanza">
+<span class="i0">Me an' my Lover, we fall out.<br /></span>
+<span class="i0">W'at d'you reckon de fuss wus 'bout?<br /></span>
+<span class="i0">She loved bitters, an' I loved kraut,<br /></span>
+<span class="i0">An' dat wus w'at de fuss wus 'bout.<br /></span>
+</div><div class="stanza">
+<span class="i0">Me an' my Lover git clean 'part.<br /></span>
+<span class="i0">How d'you reckon dat big fuss start?<br /></span>
+<span class="i0">She's got a gizzard, an' I'se got a heart,<br /></span>
+<span class="i0">An' dat's de way dat big fuss start.<br /></span>
+</div></div>
+
+<p><!-- Page 133 --><span class='pagenum'><a name="Page_133" id="Page_133">[Pg 133]</a></span></p>
+
+<div class="poem">
+
+<h5>I WISH I WAS AN APPLE</h5>
+
+<div class="stanza">
+<span class="i0">Oh: &nbsp;&thinsp; I wish I wus an apple,<br /></span>
+<span class="i2">An' my Sallie wus anudder.<br /></span>
+<span class="i2">What a pretty match we'd be,<br /></span>
+<span class="i2">Hangin' on a tree togedder!<br /></span>
+</div><div class="stanza">
+<span class="i0">But: &nbsp; If I wus an apple,<br /></span>
+<span class="i2">An' my Sallie wus anudder;<br /></span>
+<span class="i2">We'd grow up high, close to de sky,<br /></span>
+<span class="i2">Whar de Niggers couldn' git 'er.<br /></span>
+</div><div class="stanza">
+<span class="i2">We'd grow up close to de sun<br /></span>
+<span class="i2">An' smile up dar above;<br /></span>
+<span class="i2">Den we'd fall down 'way in de groun'<br /></span>
+<span class="i2">To sleep an' dream 'bout love.<br /></span>
+</div><div class="stanza">
+<span class="i0">And:  W'en we git through a dreamin',<br /></span>
+<span class="i2">We'd bofe in Heaben wake.<br /></span>
+<span class="i2">No Nigger shouldn' git my gal<br /></span>
+<span class="i2">W'en 'is time come to bake.<br /></span>
+</div></div>
+
+<p><!-- Page 134 --><span class='pagenum'><a name="Page_134" id="Page_134">[Pg 134]</a></span></p>
+
+<div class="poem">
+
+<h5>REJECTED BY ELIZA JANE</h5>
+
+<div class="stanza">
+<span class="i0">W'en I went 'cross de cotton patch<br /></span>
+<span class="i0">I give my ho'n a blow.<br /></span>
+<span class="i0">I thought I heared pretty Lizie say:<br /></span>
+<span class="i0">"Oh, yon'er come my beau!"<br /></span>
+</div><div class="stanza">
+<span class="i0">So: I axed pretty Lizie to marry me,<br /></span>
+<span class="i2">An' what d'you reckon she said?<br /></span>
+<span class="i2">She said she wouldn' marry me,<br /></span>
+<span class="i2">If ev'ybody else wus dead.<br /></span>
+</div><div class="stanza">
+<span class="i0">An': As I went up de new cut road,<br /></span>
+<span class="i2">An' she go down de lane;<br /></span>
+<span class="i2">Den I thought I heared somebody say:<br /></span>
+<span class="i2">"Good-bye, ole Lize Jane!"<br /></span>
+</div><div class="stanza">
+<span class="i0">Well: Jes git 'long, Lizie, my true love.<br /></span>
+<span class="i2">Git 'long, Miss Lizie Jane.<br /></span>
+<span class="i2">Perhaps you'll <a name="FNanchor_34_34" id="FNanchor_34_34"></a><a href="#Footnote_34_34" class="fnanchor">[34]</a>sack "Ole Sour Bill"<br /></span>
+<span class="i2">An' git choked on "Sugar Cain."<br /></span>
+</div></div>
+
+<div class="footnotes">
+<div class="footnote"><p><a name="Footnote_34_34" id="Footnote_34_34"></a><a href="#FNanchor_34_34"><span class="label">[34]</span></a> Sack = To reject as a lover.</p></div>
+</div>
+
+<p><!-- Page 135 --><span class='pagenum'><a name="Page_135" id="Page_135">[Pg 135]</a></span></p>
+
+<h3>Courtship Rhyme Section</h3>
+
+<div class="poem">
+
+<h5>ANTEBELLUM COURTSHIP INQUIRY</h5>
+
+<div class="stanza">
+<span class="i0">(He)  Is you a flyin' lark or a settin' dove?<br /></span>
+<span class="i0">(She) I'se a flyin' lark, my honey Love.<br /></span>
+<span class="i0">(He)  Is you a bird o' one fedder, or a bird o' two?<br /></span>
+<span class="i0">(She) I'se a bird o' one fedder, w'en it comes to you.<br /></span>
+<span class="i0">(He)  Den, Mam:<br /></span>
+<span class="i3">I has desire, an' quick temptation,<br /></span>
+<span class="i3">To jine my fence to y&#333;' plantation.<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5>INVITED TO TAKE THE ESCORT'S ARM</h5>
+
+<div class="stanza">
+<span class="i0">Miss, does you lak strawberries?<br /></span>
+<span class="i0">____*____*____*____*____*____<br /></span>
+<span class="i0">Den hang on de vine.<br /></span>
+<span class="i0">____*____*____*____*____*____<br /></span>
+<span class="i0">Miss, does you lak chicken?<br /></span>
+<span class="i0">____*____*____*____*____*____<br /></span>
+<span class="i0">Den have a wing dis time.<br /></span>
+</div></div>
+
+<p><!-- Page 136 --><span class='pagenum'><a name="Page_136" id="Page_136">[Pg 136]</a></span></p>
+
+<div class="poem">
+
+<h5>SPARKING OR COURTING</h5>
+
+<div class="stanza">
+<span class="i0">I'se heaps older dan three.<br /></span>
+<span class="i0">I'se heaps thicker dan barks;<br /></span>
+<span class="i0">An' de older I gits,<br /></span>
+<span class="i0">De m&#333;' harder I sparks.<br /></span>
+</div><div class="stanza">
+<span class="i0">I sparks fast an' hard,<br /></span>
+<span class="i0">For I'se feared I mought fail.<br /></span>
+<span class="i0">Dough I'se gittin' ole,<br /></span>
+<span class="i0">I don't co't lak no snail.<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5>A CLANDESTINE LETTER</h5>
+
+<div class="stanza">
+<span class="i0">Kind Miss:  If I sent you a letter,<br /></span>
+<span class="i4">By de crickets,<br /></span>
+<span class="i4">Through de thickets,<br /></span>
+<span class="i4">How'd you answer better?<br /></span>
+</div><div class="stanza">
+<span class="i0">Kind Suh:   I'd sen' you a letter,<br /></span>
+<span class="i4">By de mole,<br /></span>
+<span class="i4">Not to be t&#333;l';<br /></span>
+<span class="i4">Fer dat's m&#333;' secretter.<br /></span>
+</div></div>
+
+<p><!-- Page 137 --><span class='pagenum'><a name="Page_137" id="Page_137">[Pg 137]</a></span></p>
+
+<div class="poem">
+
+<h5>ANTEBELLUM MARRIAGE PROPOSAL<br />
+<span class="poemsub">(<i>A proposal of marriage with the answer deferred</i>)</span></h5>
+
+<div class="stanza">
+<span class="i0">(He)  De ocean, it's wide; de sea, it's deep.<br /></span>
+<span class="i2">Yes, in y&#333;' arms I begs to sleep,<br /></span>
+<span class="i2">Not fer one time, not fer three;<br /></span>
+<span class="i2">But long as we-uns can agree.<br /></span>
+</div><div class="stanza">
+<span class="i0">(She) Please gimme time, Suh, to "reponder;"<br /></span>
+<span class="i2">&nbsp;Please gimme time to "gargalize;"<br /></span>
+<span class="i2">&nbsp;Den 'haps I'll tu'n to "cattlegog,"<br /></span>
+<span class="i2">&nbsp;An' answer up 'greeable fer a s'prise.<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5>IF YOU FROWN</h5>
+
+<div class="stanza">
+<span class="i0">If you frowns, an' I frowns,<br /></span>
+<span class="i0">W'en we goes out togedder;<br /></span>
+<span class="i0">Den all de t'other folks aroun'<br /></span>
+<span class="i0">Will say: "De rain is fallin' down<br /></span>
+<span class="i0">Right in de sunshine wedder!"<br /></span>
+</div></div>
+
+<p><!-- Page 138 --><span class='pagenum'><a name="Page_138" id="Page_138">[Pg 138]</a></span></p>
+
+<div class="poem">
+
+<h5>"LET'S MARRY" COURTSHIP<br />
+<span class="poemsub">(<i>A proposal of marriage, with a provisional acceptance</i>)</span></h5>
+
+<div class="stanza">
+<span class="i0">(He)  Oh Miss Lizie, how I loves you!<br /></span>
+<span class="i2">My life's jes los' if you hain't true.<br /></span>
+<span class="i2">If you loves me lak I loves you,<br /></span>
+<span class="i2">No knife cain't cut our love in two.<br /></span>
+</div><div class="stanza">
+<span class="i0">(She) Grapevine warp, an' cornstalk fillin';<br /></span>
+<span class="i2">&nbsp;I'll marry you if mammy an' daddy's willin'.<br /></span>
+</div><div class="stanza">
+<span class="i0">(He)  Rabbit hop an' long dog trot!<br /></span>
+<span class="i2">Let's git married if dey say "not."<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5>COURTSHIP<br />
+<span class="poemsub">(<i>A proposal of marriage with its acceptance</i>)</span></h5>
+
+<div class="stanza">
+<span class="i0">Kind Miss:  I'se on de stage o' action,<br /></span>
+<span class="i4">Pleadin' hard fer satisfaction,<br /></span>
+<span class="i4">Pleadin' 'fore de time-thief late;<br /></span>
+<span class="i4">Darfore, Ma'm, now, <a name="FNanchor_35_35" id="FNanchor_35_35"></a><a href="#Footnote_35_35" class="fnanchor">[35]</a>"cravenate."<br /></span>
+<!-- Page 139 --><span class='pagenum'><a name="Page_139" id="Page_139">[Pg 139]</a></span></div><div class="stanza">
+<span class="i4">If I brung to you a gyarment;<br /></span>
+<span class="i4">To be cut widout scissors,<br /></span>
+<span class="i4">An' to be sewed widout thread;<br /></span>
+<span class="i4">How (I ax you) would you make it,<br /></span>
+<span class="i4">Widout de needle sewin'<br /></span>
+<span class="i4">An' widout de cloth spread?<br /></span>
+</div><div class="stanza">
+<span class="i0">Kind Suh:   I'd make dat gyarment<br /></span>
+<span class="i4">Wid love from my heart,<br /></span>
+<span class="i4">Wid tears on y&#333;' head;<br /></span>
+<span class="i4">We never would part.<br /></span>
+</div></div>
+
+<div class="footnotes">
+<div class="footnote"><p><a name="Footnote_35_35" id="Footnote_35_35"></a><a href="#FNanchor_35_35"><span class="label">[35]</span></a> Cravenate = consider.</p></div>
+</div>
+
+<div class="poem">
+
+<h5>I WALKED THE ROADS</h5>
+
+<div class="stanza">
+<span class="i0">Well: I walked de roads, till de roads git muddy.<br /></span>
+<span class="i2">&nbsp;I talked to dat pretty gal, till I couldn' stan' study.<br /></span>
+</div><div class="stanza">
+<span class="i0">Den:  I say: "Love me liddle," I say; "Love me long."<br /></span>
+<span class="i2">I say: "Let dat liddle be 'doggone' strong!<br /></span>
+<span class="i2">For, shore as dat rat runs 'cross de rafter,<br /></span>
+<span class="i2">So shore you'se de gal, you'se de gal I'se after."<br /></span>
+</div></div>
+
+<p><!-- Page 140 --><span class='pagenum'><a name="Page_140" id="Page_140">[Pg 140]</a></span></p>
+
+<div class="poem">
+
+<h5>PRESENTING A HAT TO PHOEBE</h5>
+
+<div class="stanza">
+<span class="i0">Sister Phoebe:  Happy wus we,<br /></span>
+<span class="i6">W'en we sot under dat Juniper tree.<br /></span>
+<span class="i6">Take dis hat, it'll keep y&#333;' head warm.<br /></span>
+<span class="i6">Take dis kiss, it'll do you no harm.<br /></span>
+</div><div class="stanza">
+<span class="i0">Sister Phoebe:  De hours, dey're few;<br /></span>
+<span class="i6">But dis hat'll say I'se thinkin' 'bout you.<br /></span>
+<span class="i6">Sugar, it's sugar; an' salt, it's salt;<br /></span>
+<span class="i6">If you don't love me, it's sh&#333;' y&#333;' own fault.<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5>WOOING</h5>
+
+<div class="stanza">
+<span class="i0">W'at is dat a wukin<br /></span>
+<span class="i0">At y&#333;' han' bill on de wall,<br /></span>
+<span class="i0">So's y&#333;' sperit, it cain't res',<br /></span>
+<span class="i0">An' a gemmun's heat, it call?<br /></span>
+</div><div class="stanza">
+<span class="i0">Is you lookin' fer sweeter berries<br /></span>
+<span class="i0">Growin' on a higher bush?<br /></span>
+<span class="i0">An' does my combersation suit?<br /></span>
+<span class="i0">If not, w'at does you wush?<br /></span>
+</div></div>
+
+<p><!-- Page 141 --><span class='pagenum'><a name="Page_141" id="Page_141">[Pg 141]</a></span></p>
+
+<h3>Courtship Song Rhyme Section</h3>
+
+<div class="poem">
+
+<h5>THE COURTING BOY</h5>
+
+<div class="stanza">
+<span class="i0">W'en I wus a liddle boy,<br /></span>
+<span class="i0">Jes fifteen inches high;<br /></span>
+<span class="i0">De way I court de pretty gals,<br /></span>
+<span class="i0">It make de ole folks cry.<br /></span>
+</div><div class="stanza">
+<span class="i0">De geese swim in de middle pon'.<br /></span>
+<span class="i0">De ducks fly 'cross de clover.<br /></span>
+<span class="i0">Run an' tell dem pretty gals,<br /></span>
+<span class="i0">Dat I'se a-comin' over.<br /></span>
+</div><div class="stanza">
+<span class="i0">Ho! Marindie! Ho!<br /></span>
+<span class="i0">Ho! Missindie! Ho!<br /></span>
+<span class="i0">Ho! Malindie! Ho! my gal!<br /></span>
+<span class="i0">I'se gwine now to see ole Sal.<br /></span>
+</div></div>
+
+<p><!-- Page 142 --><span class='pagenum'><a name="Page_142" id="Page_142">[Pg 142]</a></span></p>
+
+<div class="poem">
+
+<h5>PRETTY POLLY ANN</h5>
+
+<div class="stanza">
+<span class="i0">I'se gwineter marry, if I can.<br /></span>
+<span class="i0">I'se gwineter marry pretty Polly Ann.<br /></span>
+</div><div class="stanza">
+<span class="i0">I axed Polly Ann, fer to marry me.<br /></span>
+<span class="i0">She say she's a-lookin' fer a Nigger dat's free.<br /></span>
+</div><div class="stanza">
+<span class="i0">Pretty Polly Ann's jes dressed so fine!<br /></span>
+<span class="i0">I'll bet five dollars she hain't got a dime.<br /></span>
+</div><div class="stanza">
+<span class="i0">Pretty Polly Ann's jes a-puttin' on airs,<br /></span>
+<span class="i0">She won't notice me, but nobody cares.<br /></span>
+</div><div class="stanza">
+<span class="i0">I'll drop Polly Ann, a-lookin' lak a crane;<br /></span>
+<span class="i0">I 'spec's I'll marry Miss Lize Jane.<br /></span>
+</div></div>
+
+<p><!-- Page 143 --><span class='pagenum'><a name="Page_143" id="Page_143">[Pg 143]</a></span></p>
+
+<h3>Marriage Rhyme Section</h3>
+
+<div class="poem">
+
+<h5>SLAVE MARRIAGE CEREMONY SUPPLEMENT</h5>
+
+<div class="stanza">
+<span class="i0">Dark an' stormy may come de wedder;<br /></span>
+<span class="i0">I jines dis he-male an' dis she-male togedder.<br /></span>
+<span class="i0">Let none, but Him dat makes de thunder,<br /></span>
+<span class="i0">Put dis he-male an' dis she-male asunder.<br /></span>
+<span class="i0">I darfore 'nounce you bofe de same.<br /></span>
+<span class="i0">Be good, go 'long, an' keep up y&#333;' name.<br /></span>
+<span class="i0">De broomstick's jumped, de worl's not wide.<br /></span>
+<span class="i0">She's now y&#333;' own. Salute y&#333;' bride!<br /></span>
+</div></div>
+
+<p><!-- Page 144 --><span class='pagenum'><a name="Page_144" id="Page_144">[Pg 144]</a></span></p>
+
+<h3>Married Life Rhyme Section</h3>
+
+<div class="poem">
+
+<h5>THE NEWLY WEDS</h5>
+
+<div class="stanza">
+<span class="i0">First Mont': "Set down in my cabin, Honey!"<br /></span>
+<span class="i0">Nex' Mont': "Stan' up, my Pie."<br /></span>
+<span class="i0">Third Mont': "You go to wuk, you Wench!<br /></span>
+<span class="i5">You well to wuk as I!"<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5>WHEN I GO TO MARRY</h5>
+
+<div class="stanza">
+<span class="i0">W'en I goes to marry,<br /></span>
+<span class="i0">I wants a gal wid money.<br /></span>
+<span class="i0">I wants a pretty black-eyed gal<br /></span>
+<span class="i0">To kiss an' call me "Honey."<br /></span>
+</div><div class="stanza">
+<span class="i0">Well, w'en I goes to marry,<br /></span>
+<span class="i0">I don't wanter git no riches.<br /></span>
+<span class="i0">I wants a man 'bout four foot high,<br /></span>
+<span class="i0">So's I can w'ar de britches.<br /></span>
+</div></div>
+
+<p><!-- Page 145 --><span class='pagenum'><a name="Page_145" id="Page_145">[Pg 145]</a></span></p>
+
+<div class="poem">
+
+<h5>BOUGHT ME A WIFE</h5>
+
+<div class="stanza">
+<span class="i0">Bought me a wife an' de wife please me,<br /></span>
+<span class="i0">I feeds my wife un'er yon'er tree.<br /></span>
+<span class="i0">My wife go: "Row-row!"<br /></span>
+<span class="i0">My guinea go: "Potrack!
+<ins class="correction" title="original missing close quote">Potrack!"</ins><br /></span>
+<span class="i0">My chicken go: "Gymsack! Gymsack!"<br /></span>
+<span class="i0">My duck go: "Quack-quack! Quack-quack!"<br /></span>
+<span class="i0">My dog go: "Bow-bow!"<br /></span>
+<span class="i0">My hoss go: "Whee-whee! Whee-whee!"<br /></span>
+<span class="i0">My cat go: "Fiddle-toe! Fiddle-toe!"<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5>WHEN I WAS A "ROUSTABOUT"</h5>
+
+<div class="stanza">
+<span class="i0">W'en I wus a "Roustabout," wild an' young,<br /></span>
+<span class="i0">I co'ted my gal wid a mighty slick tongue.<br /></span>
+<span class="i0">I t&#333;l' her some oncommon lies dere an' den.<br /></span>
+<span class="i0">I t&#333;l' her dat we'd marry, but I didn' say w'en.<br /></span>
+</div><div class="stanza">
+<!-- Page 146 --><span class='pagenum'><a name="Page_146" id="Page_146">[Pg 146]</a></span><span class="i0">So on a Mond'y mornin' I tuck her fer my wife.<br /></span>
+<span class="i0">Of co'se I wus 'spectin' an agreeable life.<br /></span>
+<span class="i0">But on a Chuesd'y mornin' she chuned up her pipe,<br /></span>
+<span class="i0">An' she 'bused me more 'an I'd been 'bused all my life.<br /></span>
+</div><div class="stanza">
+<span class="i0">On a Wednesd'y evenin', as I come 'long home,<br /></span>
+<span class="i0">I says to myse'f dat she wus all my own;<br /></span>
+<span class="i0">An' on a Thursd'y night I went out to de woods,<br /></span>
+<span class="i0">An' I cut me two big fine tough leatherwoods.<br /></span>
+</div><div class="stanza">
+<span class="i0">So on a Frid'y mornin' w'en she roll me 'er eyes,<br /></span>
+<span class="i0">I retched fer my leatherwoods to give 'er a s'prise,<br /></span>
+<span class="i0">Dem long keen leatherwoods wuked mighty well,<br /></span>
+<span class="i0">An' 'er tongue, it jes rattle lak a clapper in a bell.<br /></span>
+</div><div class="stanza">
+<span class="i0">On a Sadd'y mornin' she sleep sorter late;<br /></span>
+<span class="i0">An' de las' time I see'd her, she 'us gwine out de gate.<br /></span>
+<span class="i0">I wus feedin' at de stable, lookin' out through a crack,<br /></span>
+<span class="i0">An' she lef' my log cabin 'fore I could git back.<br /></span>
+</div><div class="stanza">
+<span class="i0">On a Sund'y mornin', as I laid on my bed,<br /></span>
+<span class="i0">I didn' have no Nigger wife to bother my head.<br /></span>
+<span class="i0">Now whisky an' brandy jug's my biges' bes' friend,<br /></span>
+<span class="i0">An' my long week's wuk is about at its end.<br /></span>
+</div></div>
+
+<p><!-- Page 147 --><span class='pagenum'><a name="Page_147" id="Page_147">[Pg 147]</a></span></p>
+
+<div class="poem">
+
+<h5>MY FIRST AND MY SECOND WIFE</h5>
+
+<div class="stanza">
+<span class="i0">My fust liddle wife wus short an' fat.<br /></span>
+<span class="i0">Her face wus as black as my ole hat,<br /></span>
+<span class="i0">Her nose all flat, an' her eyes sunk in,<br /></span>
+<span class="i0">An' dat lip hang down below her chin.<br /></span>
+<span class="i2">Now wusn't I sorrowful in mind?<br /></span>
+</div><div class="stanza">
+<span class="i0">W'en I went down to dat wife's brother;<br /></span>
+<span class="i0">He said: "She 'us tired. Gwineter marry 'nother."<br /></span>
+<span class="i0">If I ever ketches dat city Coon,<br /></span>
+<span class="i0">He railly mought see my razzer soon.<br /></span>
+<span class="i2">Den I 'spec's he'd be troubled in mind!<br /></span>
+</div><div class="stanza">
+<span class="i0">My nex' wife hug an' kiss me,<br /></span>
+<span class="i0">She call me "Sugar Plum!"<br /></span>
+<span class="i0">She throw her arms 'round me,<br /></span>
+<span class="i0">Lak a grapevine 'round de gum!<br /></span>
+<span class="i2">Wusn't dat glory to my soul!<br /></span>
+</div><div class="stanza">
+<span class="i0">Her cheeks, dey're lak de cherry;<br /></span>
+<span class="i0">Dat Cherry, it's lak de rose.<br /></span>
+<span class="i0">Wid a liddle dimple in her chin,<br /></span>
+<span class="i0">An' a liddle tu'ned up nose!<br /></span>
+<span class="i2">Oh, hain't I happy in mind!<br /></span>
+</div><div class="stanza">
+
+<!-- Page 148 --><span class='pagenum'><a name="Page_148" id="Page_148">[Pg 148]</a></span>
+<span class="i0">I'se got you, Lou, now fer my wife.<br /></span>
+<span class="i0">Keep new Coons 'way, "My Pie!"<br /></span>
+<span class="i0">Caze, if you don't, I tells you now,<br /></span>
+<span class="i0">Dat we all three mought die.<br /></span>
+<span class="i2">Den we'd be troubled in min'!<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5>GOOD-BY, WIFE!</h5>
+
+<div class="stanza">
+<span class="i0">I had a liddle wife,<br /></span>
+<span class="i0">An' I didn' want to kill 'er;<br /></span>
+<span class="i0">So I tuck 'er by de heels,<br /></span>
+<span class="i0">An' I throwed 'er in de river.<br /></span>
+<span class="i0">"Good-by, Wife! Good-by, Honey!<br /></span>
+<span class="i0">Hadn' been fer you,<br /></span>
+<span class="i0">I'd a had a liddle money."<br /></span>
+</div><div class="stanza">
+<span class="i0">My liddle fussy wife<br /></span>
+<span class="i0">Up an' say she mus' have scissors;<br /></span>
+<span class="i0">An' druther dan to fight,<br /></span>
+<span class="i0">I'd a throwed 'er in three rivers.<br /></span>
+<span class="i0">But she crossed dem fingers, w'en she go down,<br /></span>
+<span class="i0">An' a liddle bit later<br /></span>
+<span class="i0">She walk out on de groun'.<br /></span>
+</div></div>
+
+<p><!-- Page 149 --><span class='pagenum'><a name="Page_149" id="Page_149">[Pg 149]</a></span></p>
+
+<h3>Nursery Rhyme Section</h3>
+
+<div class="poem">
+
+<h5><a name="FNanchor_36_36" id="FNanchor_36_36"></a>
+<a href="#Footnote_36_36" class="fnanchor">[36]</a>AWFUL HARBINGERS</h5>
+
+<div class="stanza">
+<span class="i0">W'en de big owl whoops,<br /></span>
+<span class="i0">An' de screech owl screeks,<br /></span>
+<span class="i0">An' de win' makes a howlin' sound;<br /></span>
+<span class="i0">You liddle wooly heads<br /></span>
+<span class="i0">Had better kiver up,<br /></span>
+<span class="i0">Caze de "hants" is comin' 'round.<br /></span>
+</div></div>
+
+<div class="footnotes">
+<div class="footnote"><p><a name="Footnote_36_36" id="Footnote_36_36"></a><a href="#FNanchor_36_36"><span class="label">[36]</span></a> This little rhyme is based upon a superstition once
+current among Negroes, to the effect that bad luck would come when a
+screech owl called near your home at night unless, upon hearing him, you
+would stick the handle of a shovel into the fire about which you were
+sitting, or would throw salt into it. The word "hant" means ghost or
+spirit.</p></div>
+</div>
+
+<div class="poem">
+
+<h5>THE LAST OF JACK</h5>
+
+<div class="stanza">
+<span class="i0">I had a liddle dog, his name wus Jack;<br /></span>
+<span class="i0">He run forty mile 'fore he look back.<br /></span>
+<span class="i0">W'en he look back, he fall in a crack;<br /></span>
+<span class="i0">W'en he fall in a crack, he break 'is back;<br /></span>
+<span class="i0">An' dat wus de las' o' poor liddle Jack.<br /></span>
+</div></div>
+
+<p><!-- Page 150 --><span class='pagenum'><a name="Page_150" id="Page_150">[Pg 150]</a></span></p>
+
+<div class="poem">
+
+<h5>LITTLE DOGS</h5>
+
+<div class="stanza">
+<span class="i0">I had a liddle dog; his name wus Ball;<br /></span>
+<span class="i0">W'en I give him a liddle, he want it all.<br /></span>
+</div><div class="stanza">
+<span class="i0">I had a liddle dog, his name wus Trot;<br /></span>
+<span class="i0">He helt up his tail, all tied in a knot.<br /></span>
+</div><div class="stanza">
+<span class="i0">I had a liddle dog, his name wus Blue;<br /></span>
+<span class="i0">I put him on de road, an' he almos' flew.<br /></span>
+</div><div class="stanza">
+<span class="i0">I had a liddle dog, his name wus Mack;<br /></span>
+<span class="i0">I rid his tail fer to save his back.<br /></span>
+</div><div class="stanza">
+<span class="i0">I had a liddle dog, his name wus Rover;<br /></span>
+<span class="i0">W'en he died, he died all over.<br /></span>
+</div><div class="stanza">
+<span class="i0">I had a liddle dog, his name wus Dan;<br /></span>
+<span class="i0">An' w'en he died, I buried 'im in de san'.<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5>MY DOG, CUFF</h5>
+
+<div class="stanza">
+<span class="i0">I had a liddle dog, his name wus Cuff;<br /></span>
+<span class="i0">I sent 'im to town to buy some snuff.<br /></span>
+<span class="i0">He drapped de bale, an' he spilt de snuff,<br /></span>
+<span class="i0">An' I guess dat speech is long enough.<br /></span>
+</div></div>
+
+<p><!-- Page 151 --><span class='pagenum'><a name="Page_151" id="Page_151">[Pg 151]</a></span></p>
+
+<div class="poem">
+
+<h5>SAM IS A CLEVER FELLOW</h5>
+
+<div class="stanza">
+<span class="i0">Say! Is y&#333;' peaches ripe, my boy,<br /></span>
+<span class="i0">An' is y&#333;' apples meller?<br /></span>
+<span class="i0">Go an' tell Miss Katie Jones<br /></span>
+<span class="i0">Dat Sam's a clever feller.<br /></span>
+</div><div class="stanza">
+<span class="i0">Say! Is y&#333;' cherries red, my boy,<br /></span>
+<span class="i0">An' is y&#333;' plums all yeller?<br /></span>
+<span class="i0">Oh please run tell Miss Katie Jones<br /></span>
+<span class="i0">Dat Sam's a clever feller.<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5>THE GREAT OWL'S SONG</h5>
+
+<div class="stanza">
+<span class="i0">Ah-hoo-hoo? Ah-hoo-hoo? Ah-hoo-hoo&mdash;&mdash;?<br /></span>
+<span class="i0">An' who'll cook fer Kelline, an' who'll cook fer you&mdash;&mdash;?<br /></span>
+<span class="i0"><ins class="correction" title="this line and the next were indented in the original">I will cook fer myse'f, I won't cook fer you.</ins><br /></span>
+<span class="i0">Ah-hoo-hoo! Ah-hoo-hoo! Ah-hoo&mdash;&mdash;!<br /></span>
+</div><div class="stanza">
+<span class="i0">Ah-hoo-hoo! Ah-hoo-hoo! Ah-hoo-hoo! Ah-hoo&mdash;&mdash;!<br /></span>
+<span class="i0">I wonder if Kelline would not cook fer Hue&mdash;&mdash;?<br /></span>
+<span class="i0">Fer dis is Big Sandy! It's Big Sandy Hue&mdash;&mdash;!<br /></span>
+<span class="i0">Ah-hoo-hoo! Ah-hoo-hoo! Ah-hoo-hoo! Ah-hoo&mdash;&mdash;!<br /></span>
+</div><div class="stanza">
+<!-- Page 152 --><span class='pagenum'><a name="Page_152" id="Page_152">[Pg 152]</a></span><span class="i0">Ah-ha-hah! Ah-ha-hah! Ah-ha-hah! Ah-hah&mdash;&mdash;!<br /></span>
+<span class="i0">I thought you 'us ole Bill Jack as black as de tah.<br /></span>
+<span class="i0">You really must 'scuse me, my "Honey Lump Pa."<br /></span>
+<span class="i0">Ah-ha-hah! Ah-ha-hah! Ah-ha-hah! Ah-hah&mdash;&mdash;!<br /></span>
+</div><div class="stanza">
+<span class="i0">An' since I'se been Kelline, an' you'se Big Sandy Hue;<br /></span>
+<span class="i0">I will cook fer myse'f, an' I will cook fer you.<br /></span>
+<span class="i0">I'll love you forever, an' sing in de dew:<br /></span>
+<span class="i0">"Ah-hoo-hoo! Ah-hoo-hoo! Ah-hoo-hoo! Ah-hoo&mdash;&mdash;!"<br /></span>
+</div><div class="stanza">
+<span class="i0">Yes!&mdash;Ah-hoo-hoo! Ah-hoo-hoo! Ah-hoo-hoo! Ah-hoo-all!<br /></span>
+<span class="i0">Now, we'll cook fer ourse'fs, but who'll cook fer you all?<br /></span>
+<span class="i0">Fer Tom Dick an' his wife, fer Pete Snap an' Shoe-Awl,<br /></span>
+<span class="i0">Rough Shot De Shoe-boot, an' de Lawd He knows who all?<br /></span>
+</div></div>
+
+<p><!-- Page 153 --><span class='pagenum'><a name="Page_153" id="Page_153">[Pg 153]</a></span></p>
+
+<div class="poem">
+
+<h5>HERE I STAND</h5>
+
+<div class="stanza">
+<span class="i0">Here I stan', raggity an' dirty;<br /></span>
+<span class="i0">If you don't come kiss me, I'll run lak a tucky.<br /></span>
+</div><div class="stanza">
+<span class="i0">Here I stan' on two liddle chips,<br /></span>
+<span class="i0">Pray, come kiss my sweet liddle lips.<br /></span>
+</div><div class="stanza">
+<span class="i0">Here I stan' crooked lak a horn;<br /></span>
+<span class="i0">I hain't had no kiss since I'se been born.<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5>PIG TAIL</h5>
+
+<div class="stanza">
+<span class="i0">Run boys, run!<br /></span>
+<span class="i0">De pig tail's done.<br /></span>
+<span class="i0">If you don't come quick,<br /></span>
+<span class="i0">You won't git none.<br /></span>
+</div><div class="stanza">
+<span class="i0">Pig ham's dere,<br /></span>
+<span class="i0">Lakwise middlin's square;<br /></span>
+<span class="i0">But dese great big parts<br /></span>
+<span class="i0">Hain't no Nigger's bes' fare.<br /></span>
+</div></div>
+
+<p><!-- Page 154 --><span class='pagenum'><a name="Page_154" id="Page_154">[Pg 154]</a></span></p>
+
+<div class="poem">
+
+<h5>A, B, C</h5>
+
+<div class="stanza">
+<span class="i0">A, B, C,<br /></span>
+<span class="i0">Doubled down D;<br /></span>
+<span class="i0">I'se so lazy you cain't see me.<br /></span>
+</div><div class="stanza">
+<span class="i0">A, B, C,<br /></span>
+<span class="i0">Doubled down D<br /></span>
+<span class="i0">Lazy Chilluns gits hick'ry tea.<br /></span>
+</div><div class="stanza">
+<span class="i0">A, B, C,<br /></span>
+<span class="i0">Doubled down D,<br /></span>
+<span class="i0">Dat "cat's" in de cupboard an' hid. You see?<br /></span>
+</div><div class="stanza">
+<span class="i0">A, B, C,<br /></span>
+<span class="i0">Doubled down D,<br /></span>
+<span class="i0">You'd better come out an' wuk lak me.<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5>NEGRO BAKER MAN</h5>
+
+<div class="stanza">
+<span class="i0">Patty cake! Patty cake! Nigger Baker man.<br /></span>
+<span class="i0">Missus an' Mosser gwineter ketch 'im if dey can.<br /></span>
+<span class="i0">Put de liddle Nigger in Mosser's dish pan,<br /></span>
+<span class="i0">An' scrub 'im off good fer de ole San' Man.<br /></span>
+</div></div>
+
+<p><!-- Page 155 --><span class='pagenum'><a name="Page_155" id="Page_155">[Pg 155]</a></span></p>
+
+<div class="poem">
+
+<h5>STICK-A-MA-STEW</h5>
+
+<div class="stanza">
+<span class="i0">Stick-a-ma-stew, he went to town.<br /></span>
+<span class="i0">Stick-a-ma-stew, he tore 'is gown.<br /></span>
+<span class="i0">All dem folks what live in town<br /></span>
+<span class="i0">Cain't mend dat randsome, handsome gown.<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5>BOB-WHITE'S SONG</h5>
+
+<div class="stanza">
+<span class="i0">Bob-white! Bob-white!<br /></span>
+<span class="i0">Is y&#333;' peas all ripe?<br /></span>
+<span class="i0">No&mdash;! not&mdash;! quite!<br /></span>
+</div><div class="stanza">
+<span class="i0">Bob-white! Bob-white!<br /></span>
+<span class="i0">W'en will dey be ripe?<br /></span>
+<span class="i0">To-mor&mdash;! row&mdash;! might!<br /></span>
+</div><div class="stanza">
+<span class="i0">Bob-white! Bob-white!<br /></span>
+<span class="i0">Does you sing at night?<br /></span>
+<span class="i0">No&mdash;! not&mdash;! quite!<br /></span>
+</div><div class="stanza">
+<span class="i0">Bob-white! Bob-white!<br /></span>
+<span class="i0">W'en is de time right?<br /></span>
+<span class="i0">At can&mdash;! dle&mdash;! light!<br /></span>
+</div></div>
+
+<p><!-- Page 156 --><span class='pagenum'><a name="Page_156" id="Page_156">[Pg 156]</a></span></p>
+
+<div class="poem">
+
+<h5>COOKING DINNER</h5>
+
+<div class="stanza">
+<span class="i0">Go:   &nbsp;Bile dem cabbage down.<br /></span>
+<span class="i2">Turn dat hoecake 'round,<br /></span>
+<span class="i2">Cook it done an' brown.<br /></span>
+</div><div class="stanza">
+<span class="i0">Yes:  Gwineter have sweet taters too.<br /></span>
+<span class="i2">Hain't had none since las' Fall,<br /></span>
+<span class="i2">Gwineter eat 'em skins an' all.<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5>CHUCK WILL'S WIDOW SONG</h5>
+
+<div class="stanza">
+<span class="i0">Oh nimber, nimber Will-o!<br /></span>
+<span class="i0">My crooked, crooked bill-o!<br /></span>
+<span class="i0">I'se settin' down right now, on<br /></span>
+<span class="i2">de sweet pertater hill-o.<br /></span>
+</div><div class="stanza">
+<span class="i0">Oh nimber, nimber Will-o!<br /></span>
+<span class="i0">My crooked, crooked bill-o!<br /></span>
+<span class="i0">Two liddle naked babies, my two<br /></span>
+<span class="i2">brown aigs now fill-o.<br /></span>
+</div><div class="stanza">
+<span class="i0">Oh nimber, nimber Will-o!<br /></span>
+<span class="i0">My crooked, crooked bill-o!<br /></span>
+<span class="i0">Don't hurt de liddle babies; dey<br /></span>
+<span class="i2">is too sweet to kill-o.<br /></span>
+</div></div>
+
+<p><!-- Page 157 --><span class='pagenum'><a name="Page_157" id="Page_157">[Pg 157]</a></span></p>
+
+<div class="poem">
+
+<h5>BRIDLE UP A RAT</h5>
+
+<div class="stanza">
+<span class="i0">Bridle up er rat,<br /></span>
+<span class="i0">Saddle up er cat,<br /></span>
+<span class="i0">An' han' me down my big straw hat.<br /></span>
+</div><div class="stanza">
+<span class="i0">In come de cat,<br /></span>
+<span class="i0">Out go de rat,<br /></span>
+<span class="i0">Down go de baby wid 'is big straw hat.<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5>MY LITTLE PIG</h5>
+
+<div class="stanza">
+<span class="i0">You see:  I had a liddle pig,<br /></span>
+<span class="i3">&nbsp;&nbsp;I fed 'im on slop;<br /></span>
+<span class="i3">&nbsp;&nbsp;He got so fat<br /></span>
+<span class="i3">&nbsp;&nbsp;Dat he almos' pop.<br /></span>
+</div><div class="stanza">
+<span class="i0">An' den:  I tuck de liddle pig,<br /></span>
+<span class="i3">&nbsp;An' I rid 'im to school;<br /></span>
+<span class="i3">&nbsp;He e't ginger cake,<br /></span>
+<span class="i3">&nbsp;An' it tu'n 'im a fool.<br /></span>
+</div><div class="stanza">
+<span class="i0"><ins class="correction" title="original reads: But he (with no extra space)">But: &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;He</ins> grunt de lessons,<br /></span>
+<span class="i3">An' keep all de rule,<br /></span>
+<span class="i3">An' he make 'em all think<br /></span>
+<span class="i3">Dat he learn in de cool.<br /></span>
+</div></div>
+
+<p><!-- Page 158 --><span class='pagenum'><a name="Page_158" id="Page_158">[Pg 158]</a></span></p>
+
+<div class="poem">
+
+<h5>IN A MULBERRY TREE</h5>
+
+<div class="stanza">
+<span class="i0">Jes looky, looky yonder; w'at I see!<br /></span>
+<span class="i0">Two liddle Niggers in a Mulberry tree.<br /></span>
+<span class="i0">One cain't read, an' de t'other cain't write.<br /></span>
+<span class="i0">But dey bofe can smoke deir daddy's pipe.<br /></span>
+</div><div class="stanza">
+<span class="i0">"One ma two! One ma two!"<br /></span>
+<span class="i0">Dat Mulberry Witch, he <a name="FNanchor_37_37" id="FNanchor_37_37"></a><a href="#Footnote_37_37" class="fnanchor">[37]</a>titterer too.<br /></span>
+<span class="i0">"Big bait o' Mulberries make 'em bofe sick.<br /></span>
+<span class="i0">Dem liddle Niggers gwineter roll an' kick!"<br /></span>
+</div></div>
+
+<div class="footnotes">
+<div class="footnote"><p><a name="Footnote_37_37" id="Footnote_37_37"></a><a href="#FNanchor_37_37"><span class="label">[37]</span></a> Titterer means laugh.</p></div>
+</div>
+
+<div class="poem">
+
+<h5>ANIMAL ATTIRE</h5>
+
+<div class="stanza">
+<span class="i0">Dat Coon, he w'ar a undershirt;<br /></span>
+<span class="i0">Dat 'Possum w'ar a gown.<br /></span>
+<span class="i0">Br'er Rabbit, he w'ar a overcoat<br /></span>
+<span class="i0">Wid buttons up an' down.<br /></span>
+</div><div class="stanza">
+<span class="i0">Mistah Gobbler's got beads 'roun' 'is nec'.<br /></span>
+<span class="i0">Mistah Pattridge's got a collar, Hun!<br /></span>
+<span class="i0">Mistah Peacock, a fedder on his head!<br /></span>
+<span class="i0">But dese don't stop no gun.<br /></span>
+</div></div>
+
+<p><!-- Page 159 --><span class='pagenum'><a name="Page_159" id="Page_159">[Pg 159]</a></span></p>
+
+<div class="poem">
+
+<h5>ASPIRATION</h5>
+
+<div class="stanza">
+<span class="i0">If I wus de President<br /></span>
+<span class="i0">Of dese United States,<br /></span>
+<span class="i0">I'd eat good 'lasses candy,<br /></span>
+<span class="i0">An' swing on all de gates.<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5>ANIMAL FAIR</h5>
+
+<div class="stanza">
+<span class="i0">Has you ever hearn tell 'bout de Animal Fair?<br /></span>
+<span class="i0">Dem birds an' beasts wus all down dere.<br /></span>
+<span class="i0">Dat jaybird a-settin' down on 'is wing!<br /></span>
+<span class="i0">Has you ever hearn tell about sitch a thing<br /></span>
+<span class="i0">As whut 'us at dat Animal Fair?<br /></span>
+</div><div class="stanza">
+<span class="i0">Well, dem animals had a Fair.<br /></span>
+<span class="i0">Dem birds an' beasts wus dere.<br /></span>
+<span class="i0">De big Baboon,<br /></span>
+<span class="i0">By de light o' de moon,<br /></span>
+<span class="i0">Jes comb up his sandy hair.<br /></span>
+</div><div class="stanza">
+<!-- Page 160 --><span class='pagenum'><a name="Page_160" id="Page_160">[Pg 160]</a></span><span class="i0">De monkey, he git drunk,<br /></span>
+<span class="i0">He kick up a red hot chunk.<br /></span>
+<span class="i0">Dem coals, dey 'rose;<br /></span>
+<span class="i0">An' bu'nt 'is toes!<br /></span>
+<span class="i0">He clumb de Elephan's trunk.<br /></span>
+</div><div class="stanza">
+<span class="i0">I went down to de Fair.<br /></span>
+<span class="i0">Dem varmints all wus dere.<br /></span>
+<span class="i0">Dat young Baboon<br /></span>
+<span class="i0">Wunk at Miss Coon;<br /></span>
+<span class="i0">Dat curled de Elephan's hair.<br /></span>
+</div><div class="stanza">
+<span class="i0">De Camel den walk 'bout,<br /></span>
+<span class="i0">An' tromped on de Elephan's snout.<br /></span>
+<span class="i0">De Elephan' sneeze,<br /></span>
+<span class="i0">An' fall on his knees;<br /></span>
+<span class="i0">Dat pleased all dem monk&#275;ys.<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5>LITTLE BOY WHO COULDN'T COUNT SEVEN</h5>
+
+<div class="stanza">
+<span class="i0">Once der wus a liddle boy dat couldn' count one.<br /></span>
+<span class="i0">Dey pitched him in a fedder bed; 'e thought it great big fun.<br /></span>
+</div><div class="stanza">
+<!-- Page 161 --><span class='pagenum'><a name="Page_161" id="Page_161">[Pg 161]</a></span><span class="i0">Once der wus a liddle boy dat couldn' count two.<br /></span>
+<span class="i0">Dey pitched him in a fedder bed; 'e thought 'e 'us gwine through.<br /></span>
+</div><div class="stanza">
+<span class="i0">Once der wus a liddle boy dat couldn' count three.<br /></span>
+<span class="i0">Dey pitched him in a fedder bed; 'e thought de Niggers 'us free.<br /></span>
+</div><div class="stanza">
+<span class="i0">Once der wus a liddle boy dat couldn' count f&#333;'.<br /></span>
+<span class="i0">Dey pitched him in a fedder bed; 'e jumped out on de fl&#333;'.<br /></span>
+</div><div class="stanza">
+<span class="i0">Once der wus a liddle boy dat couldn' count five.<br /></span>
+<span class="i0">Dey pitched him in a fedder bed; 'e thought de dead alive.<br /></span>
+</div><div class="stanza">
+<span class="i0">Once der wus a liddle boy dat couldn' count six.<br /></span>
+<span class="i0">Dey pitched him in a fedder bed; 'e never did git fix!<br /></span>
+</div><div class="stanza">
+<span class="i0">Once der wus a liddle boy dat couldn' count seben.<br /></span>
+<span class="i0">Dey pitched him in a fedder bed; 'e thought he's gwine to Heaben!<br /></span>
+</div></div>
+
+<p><!-- Page 162 --><span class='pagenum'><a name="Page_162" id="Page_162">[Pg 162]</a></span></p>
+
+<div class="poem">
+
+<h5>MISS TERRAPIN AND MISS TOAD</h5>
+
+<div class="stanza">
+<span class="i0">As I went marchin' down de road,<br /></span>
+<span class="i0">I met Miss Tearpin an' I met Miss Toad.<br /></span>
+<span class="i0">An' ev'ry time Miss Toad would jump,<br /></span>
+<span class="i0">Miss Tearpin would peep from 'hind de stump.<br /></span>
+</div><div class="stanza">
+<span class="i0">I axed dem ladies fer to marry me,<br /></span>
+<span class="i0">An' bofe find fault wid de t'other, you see.<br /></span>
+<span class="i0">"If you marries Miss Toad," Miss Tearpin said,<br /></span>
+<span class="i0">"You'll have to hop 'round lak you'se been half dead!"<br /></span>
+</div><div class="stanza">
+<span class="i0">"If you combs y&#333;' head wid a Tearpin comb,<br /></span>
+<span class="i0">You'll have to creep 'round all tied up at home."<br /></span>
+<span class="i0">I run'd away frum dar, my foot got bruise,<br /></span>
+<span class="i0">For I didn't know zackly which to choose.<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5>FROM SLAVERY</h5>
+
+<div class="stanza">
+<span class="i0">Chile: I come from out'n slavery,<br /></span>
+<span class="i0">Whar de Bull-whup bust de hide;<br /></span>
+<span class="i0">Back dar, whar dis gineration<br /></span>
+<span class="i0">Natchully widdered up an' died!<br /></span>
+</div></div>
+
+<p><!-- Page 163 --><span class='pagenum'><a name="Page_163" id="Page_163">[Pg 163]</a></span></p>
+
+<div class="poem">
+
+<h5>THE END OF TEN LITTLE NEGROES</h5>
+
+<div class="stanza">
+<span class="i0">Ten liddle Niggers, a-eatin', fat an' fine;<br /></span>
+<span class="i0">One choke hisse'f to death, an' dat lef' nine.<br /></span>
+<span class="i0">Nine liddle Niggers, dey sot up too late;<br /></span>
+<span class="i0">One sleep hisse'f to death, an' dat lef' eight.<br /></span>
+<span class="i0">Eight liddle Niggers want to go to Heaben;<br /></span>
+<span class="i0">One sing hisse'f to death, an' dat lef' seben.<br /></span>
+<span class="i0">Seben liddle Niggers, a-pickin' up sticks;<br /></span>
+<span class="i0">One wuk hisse'f to death, an' dat lef' six.<br /></span>
+<span class="i0">Six liddle Niggers went out fer to drive;<br /></span>
+<span class="i0">Mule run away wid one, an' dat lef' five.<br /></span>
+<span class="i0">Five liddle Niggers in a cold rain pour;<br /></span>
+<span class="i0">One coughed hisse'f to death, an' dat lef' four.<br /></span>
+<span class="i0">Four liddle Niggers, climb a' apple tree;<br /></span>
+<span class="i0">One fall down an' out, an' dat lef' three.<br /></span>
+<span class="i0">Three liddle Niggers a-wantin' sumpin new;<br /></span>
+<span class="i0">One, he quit de udders, an' dat lef' two.<br /></span>
+<span class="i0">Two liddle Niggers went out fer to run;<br /></span>
+<span class="i0">One fell down de bluff, an' dat lef' one.<br /></span>
+<span class="i0">One liddle Nigger, a-foolin' wid a gun;<br /></span>
+<span class="i0">Gun go off "bang!" an' dat lef' none.<br /></span>
+</div></div>
+
+<p><!-- Page 164 --><span class='pagenum'><a name="Page_164" id="Page_164">[Pg 164]</a></span></p>
+
+<div class="poem">
+
+<h5>THE ALABAMA WAY</h5>
+
+<div class="stanza">
+<span class="i0">'Way down yon'er "in de Alerbamer way,"<br /></span>
+<span class="i0">De Niggers goes to wo'k at de peep o' de day.<br /></span>
+<span class="i0">De bed's too short, an' de high posts rear;<br /></span>
+<span class="i0">De Niggers needs a ladder fer to climb up dere.<br /></span>
+<span class="i0">De cord's wore out, an' de bed-tick's gone.<br /></span>
+<span class="i0">Niggers' legs hang down fer de chickens t' roost on.<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5>MOTHER SAYS I AM SIX YEARS OLD</h5>
+
+<div class="stanza">
+<span class="i0">My mammy says dat I'se too young<br /></span>
+<span class="i0">To go to Church an' pray;<br /></span>
+<span class="i0">But she don't know how bad I is<br /></span>
+<span class="i0">W'en she's been gone away.<br /></span>
+</div><div class="stanza">
+<span class="i0">My mammy says I'se six years old,<br /></span>
+<span class="i0">My daddy says I'se seben.<br /></span>
+<span class="i0">Dat's all right how old I is,<br /></span>
+<span class="i0">Jes since I'se a gwine to Heaben.<br /></span>
+</div></div>
+
+<p><!-- Page 165 --><span class='pagenum'><a name="Page_165" id="Page_165">[Pg 165]</a></span></p>
+
+<div class="poem">
+
+<h5>THE ORIGIN OF THE SNAKE</h5>
+
+<div class="stanza">
+<span class="i0">Up de hill an' down de level!<br /></span>
+<span class="i0">Up de hill an' down de level!<br /></span>
+<span class="i0">Granny's puppy treed de Devil.<br /></span>
+</div><div class="stanza">
+<span class="i0">Puppy howl, an' Devil shake!<br /></span>
+<span class="i0">Puppy howl, an' Devil shake!<br /></span>
+<span class="i0">Devil leave, an' dere's y&#333;' snake.<br /></span>
+</div><div class="stanza">
+<span class="i0">Mash his head; de sun shine bright!<br /></span>
+<span class="i0">Mash his head; de sun shine
+<ins class="correction" title="original reads: bright;">bright!</ins><br /></span>
+<span class="i0">Tail don't die ontel it's night.<br /></span>
+</div><div class="stanza">
+<span class="i0">Night come on, an' sperits groan!<br /></span>
+<span class="i0">Night come on, an' sperits groan!<br /></span>
+<span class="i0">Devil come an' gits his own.<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5>WILD HOG HUNT</h5>
+
+<div class="stanza">
+<span class="i0">Nigger in de woods, a-settin' on a log;<br /></span>
+<span class="i0">Wid his finger on de trigger, an' his eyes upon de hog.<br /></span>
+<span class="i0">De gun say "bam!" an' de hog say "bip!"<br /></span>
+<span class="i0">An' de Nigger grab dat wild hog wid all his grip.<br /></span>
+</div></div>
+
+<p><!-- Page 166 --><span class='pagenum'><a name="Page_166" id="Page_166">[Pg 166]</a></span></p>
+<div class="poem">
+
+<h5>A STRANGE BROOD</h5>
+
+<div class="stanza">
+<span class="i0">De ole hen sot on tucky aigs,<br /></span>
+<span class="i0">An' she hatch out goslin's three.<br /></span>
+<span class="i0">Two wus tuckies wid slender legs,<br /></span>
+<span class="i0">An' one wus a bumblebee.<br /></span>
+<span class="i0">All dem hens say to one nudder:<br /></span>
+<span class="i0">"Mighty queer chickens! See?"<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5>THE TOWN AND THE COUNTRY BIRD</h5>
+
+<div class="stanza">
+<span class="i0">Jaybird a-swingin' a two hoss plow;<br /></span>
+<span class="i0">"Sparrer, why not you?"<br /></span>
+<span class="i0">"W'y&mdash;! My legs so liddle an' slender, man,<br /></span>
+<span class="i0">I'se fear'd dey'd break in two."<br /></span>
+</div><div class="stanza">
+<span class="i0">Jaybird answer: "What'd you say?&mdash;<br /></span>
+<span class="i0">I sometimes worms terbaccy;<br /></span>
+<span class="i0">But I'd druther plow sweet taters too,<br /></span>
+<span class="i0">Dan to be a ole Town Tacky!"<br /></span>
+</div><div class="stanza">
+<span class="i0">Jaybird up in de Sugar tree,<br /></span>
+<span class="i0">De sparrer on de groun';<br /></span>
+<span class="i0">De jaybird shake de sugar down,<br /></span>
+<span class="i0">An' de sparrer pass it 'roun'.<br /></span>
+</div><div class="stanza">
+<!-- Page 167 --><span class='pagenum'><a name="Page_167" id="Page_167">[Pg 167]</a></span><span class="i0">De jaybird say: "Save some fer me;<br /></span>
+<span class="i0">I needs it w'en I bakes."<br /></span>
+<span class="i0">De sparrer say: "Use 'lasses, Suh!<br /></span>
+<span class="i0">Dat suits fer Country-Jakes!"<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5>FROG IN A MILL (<a name="FNanchor_38_38" id="FNanchor_38_38"></a>
+<a href="#Footnote_38_38" class="fnanchor">[38]</a>GUINEA OR EBO RHYME)</h5>
+
+<div class="stanza">
+<span class="i0">Once dere wus er frog dat lived in er mill.<br /></span>
+<span class="i0">He had er raker don la bottom o' la kimebo<br /></span>
+<span class="i0">Kimebo, nayro, dilldo, kiro<br /></span>
+<span class="i0">Stimstam, formididdle, all-a-board la rake;<br /></span>
+<span class="i0">Wid er raker don la bottom o' la kimebo.<br /></span>
+</div></div>
+
+<div class="footnotes">
+<div class="footnote"><p><a name="Footnote_38_38" id="Footnote_38_38"></a><a href="#FNanchor_38_38"><span class="label">[38]</span></a> For explanation, read the Study in Negro Folk Rhymes.</p></div>
+</div>
+
+<div class="poem">
+
+<h5>STRONG HANDS</h5>
+
+<div class="stanza">
+<span class="i0">Here's y&#333;' bread, an' here's y&#333;' butter;<br /></span>
+<span class="i0">An' here's de hands fer to make you sputter.<br /></span>
+</div><div class="stanza">
+<span class="i0">Tetch dese hands, w'en you wants to tetch a beaver.<br /></span>
+<span class="i0">If dese hands tetch you, you'll sh&#333;' ketch de fever.<br /></span>
+</div><div class="stanza">
+<span class="i0">Dese hands Samson, good fer a row,<br /></span>
+<span class="i0">W'en dey hits you, it's "good-by cow!"<br /></span>
+</div></div>
+
+<p><!-- Page 168 --><span class='pagenum'><a name="Page_168" id="Page_168">[Pg 168]</a></span></p>
+
+<div class="poem">
+
+<h5>TREE FROGS (GUINEA OR EBO RHYME)</h5>
+
+<div class="stanza">
+<span class="i0">Shool! Shool! Shool! I rule!<br /></span>
+<span class="i0">Shool! Shool! Shool! I rule!<br /></span>
+<span class="i0">Shool! Shacker-rack!<br /></span>
+<span class="i0">I shool bubba cool.<br /></span>
+</div><div class="stanza">
+<span class="i0">Seller! Beller eel!<br /></span>
+<span class="i0">Fust to ma tree'l<br /></span>
+<span class="i0">Just came er bubba.<br /></span>
+<span class="i0">Buska! Buska-reel!<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5>WHEN I WAS A LITTLE BOY</h5>
+
+<div class="stanza">
+<span class="i0">W'en I wus a liddle boy<br /></span>
+<span class="i0">I cleaned up mammy's dishes;<br /></span>
+<span class="i0">Now I is a great big boy,<br /></span>
+<span class="i0">I wears my daddy's britches.<br /></span>
+<span class="i0">I can knock dat Mobile Buck<br /></span>
+<span class="i0">An' smoke dat corncob pipe.<br /></span>
+<span class="i0">I can kiss dem pretty gals,<br /></span>
+<span class="i0">An' set up ev'ry night.<br /></span>
+</div></div>
+
+<p><!-- Page 169 --><span class='pagenum'><a name="Page_169" id="Page_169">[Pg 169]</a></span></p>
+
+<div class="poem">
+
+<h5>GRASSHOPPER SENSE</h5>
+
+<div class="stanza">
+<span class="i0">Dere wus a liddle grasshopper<br /></span>
+<span class="i0">Dat wus always on de jump;<br /></span>
+<span class="i0">An' caze he never look ahead,<br /></span>
+<span class="i0">He wus always gittin' a bump.<br /></span>
+</div><div class="stanza">
+<span class="i0">Huddlety, dumpty, dumpty, dump!<br /></span>
+<span class="i0">Mind out, or you will git a bump;<br /></span>
+<span class="i0">Shore as de grass grows 'round de stump<br /></span>
+<span class="i0">Be keerful, my sweet Sugar Lump.<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5>YOUNG MASTER AND OLD MASTER</h5>
+
+<div class="stanza">
+<span class="i0">Hick'ry leaves an' calico sleeves!<br /></span>
+<span class="i0">I tells you young Mosser's hard to please.<br /></span>
+<span class="i0">Young Mosser fool you, de way he grin.<br /></span>
+<span class="i0">De way he whup you is a sin.<br /></span>
+</div><div class="stanza">
+<span class="i0">De monkey's a-settin' on de end of a rail,<br /></span>
+<span class="i0">Pickin' his tooth wid de end of his tail.<br /></span>
+<span class="i0">Mulberry leaves an' homespun sleeves!<br /></span>
+<span class="i0">Better know dat ole Mosser's not easy to please.<br /></span>
+</div></div>
+
+<p><!-- Page 170 --><span class='pagenum'><a name="Page_170" id="Page_170">[Pg 170]</a></span></p>
+
+<div class="poem">
+
+<h5>MY SPECKLED HEN</h5>
+
+<div class="stanza">
+<span class="i0">Somebody stole my speckled hen.<br /></span>
+<span class="i0">Dey lef' me mighty p&#333;o'.<br /></span>
+<span class="i0">Ev'ry day she layed three aigs,<br /></span>
+<span class="i0">An' Sunday she lay f&#333;'.<br /></span>
+</div><div class="stanza">
+<span class="i0">Somebody stole my speckled hen.<br /></span>
+<span class="i0">She crowed at my back d&#333;'.<br /></span>
+<span class="i0">Fedders, dey shine jes lak de sun;<br /></span>
+<span class="i0">De Niggers grudged her m&#333;'.<br /></span>
+</div><div class="stanza">
+<span class="i0"><a name="FNanchor_39_39" id="FNanchor_39_39"></a><a href="#Footnote_39_39" class="fnanchor">[39]</a>De whis'lin' gal, an' de crowin' hen,<br /></span>
+<span class="i0">Never comes to no good en'.<br /></span>
+<span class="i0">Stop dat whis'lin'; go on an' sing!<br /></span>
+<span class="i0">'Member dat hen wid 'er shinin' wing.<br /></span>
+</div></div>
+
+<div class="footnotes">
+<div class="footnote"><p><a name="Footnote_39_39" id="Footnote_39_39"></a><a href="#FNanchor_39_39"><span class="label">[39]</span></a> An old superstition.</p></div>
+</div>
+
+<div class="poem">
+
+<h5>THE SNAIL'S REPLY</h5>
+
+<div class="stanza">
+<span class="i0">Snail! Snail! Come out'n o' y&#333;' shell,<br /></span>
+<span class="i0">Or I'll beat on y&#333;' back till you rings lak a bell.<br /></span>
+</div><div class="stanza">
+<span class="i0">"I do ve'y well," sayed de snail in de shell,<br /></span>
+<span class="i0">"I'll jes take my chances in here whar I dwell."<br /></span>
+</div></div>
+
+<p><!-- Page 171 --><span class='pagenum'><a name="Page_171" id="Page_171">[Pg 171]</a></span></p>
+
+<div class="poem">
+
+<h5>A STRANGE FAMILY</h5>
+
+<div class="stanza">
+<span class="i0">Once dere's an ole 'oman dat lived in de Wes'.<br /></span>
+<span class="i0">She had two gals of de very bes'.<br /></span>
+<span class="i0">One wus older dan de t'other,<br /></span>
+<span class="i0">T'other's older dan her mother,<br /></span>
+<span class="i0">An' dey're all deir own gran'mother.<br /></span>
+<span class="i0">Can you guess?<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5>GOOD-BY, RING</h5>
+
+<div class="stanza">
+<span class="i0">I had a liddle dog, his name wus Ring,<br /></span>
+<span class="i0">I tied him up to his nose wid a string.<br /></span>
+<span class="i0">I pulled dat string, an' his eyes tu'n blue.<br /></span>
+<span class="i0">"Good-by, Ring! I'se done wid you."<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5>DEEDLE, DUMPLING</h5>
+
+<div class="stanza">
+<span class="i0">Deedle, deedle, dumplin'! My boy, Pete!<br /></span>
+<span class="i0">He went to bed wid his dirty feet.<br /></span>
+<span class="i0">Mammy laid a switch down on dat sheet!<br /></span>
+<span class="i0">Deedle, deedle, dumplin'! My boy, Pete!<br /></span>
+</div></div>
+
+<p><!-- Page 172 --><span class='pagenum'><a name="Page_172" id="Page_172">[Pg 172]</a></span></p>
+
+<div class="poem">
+
+<h5>BUCK AND BERRY</h5>
+
+<div class="stanza">
+<span class="i0">Buck an' Berry run a race,<br /></span>
+<span class="i0">Buck fall down an' skin his face.<br /></span>
+</div><div class="stanza">
+<span class="i0">Buck an' Berry in a stall;<br /></span>
+<span class="i0">Buck, he try to eat it all.<br /></span>
+</div><div class="stanza">
+<span class="i0">Buck, he e't too much, you see.<br /></span>
+<span class="i0">So he died wid choleree.<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5>PRETTY LITTLE GIRL</h5>
+
+<div class="stanza">
+<span class="i0">Who's been here since I'se been gone?<br /></span>
+<span class="i1">A pretty liddle gal wid a blue dress on.<br /></span>
+</div><div class="stanza">
+<span class="i0">Who'll stay here when I goes 'way?<br /></span>
+<span class="i1">A pretty liddle gal, all dressed in gray.<br /></span>
+</div><div class="stanza">
+<span class="i0">Who'll wait on Mistess day an' night?<br /></span>
+<span class="i1">A pretty liddle gal, all dressed in white.<br /></span>
+</div><div class="stanza">
+<span class="i0">Who'll be here when I'se been dead?<br /></span>
+<span class="i1">A pretty liddle gal, all dressed in red.<br /></span>
+</div></div>
+
+<p><!-- Page 173 --><span class='pagenum'><a name="Page_173" id="Page_173">[Pg 173]</a></span></p>
+
+<div class="poem">
+
+<h5>TWO SICK NEGRO BOYS</h5>
+
+<div class="stanza">
+<span class="i0">Two liddle Niggers sick in bed,<br /></span>
+<span class="i0">One jumped up an' bumped his head.<br /></span>
+<span class="i0">W'en de Doctah come he simpully said:<br /></span>
+<span class="i0">"Jes feed dat boy on shorten' bread."<br /></span>
+</div><div class="stanza">
+<span class="i0">T'other liddle Nigger sick in bed,<br /></span>
+<span class="i0">W'en he hear tell o' shorten' bread,<br /></span>
+<span class="i0">Popped up all well. He dance an' sing!<br /></span>
+<span class="i0">He almos' cut dat Pigeon's Wing!<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5>GRASSHOPPER SITTING ON A SWEET POTATO VINE</h5>
+
+<div class="stanza">
+<span class="i0">Grasshopper <ins class="correction" title="original reads: a settin'">a-settin'</ins> on a sweet tater vine,<br /></span>
+<span class="i0">'Long come a Blackbird an' nab him up behind.<br /></span>
+</div><div class="stanza">
+<span class="i0">Blackbird a-settin' in a sour apple tree;<br /></span>
+<span class="i0">Hawk grab him up behind; he "Chee! Chee! Chee!"<br /></span>
+</div><div class="stanza">
+<span class="i0">Big hawk a-settin' in de top of dat oak,<br /></span>
+<span class="i0">Start to eat dat Blackbird an' he git choke.<br /></span>
+</div></div>
+
+<p><!-- Page 174 --><span class='pagenum'><a name="Page_174" id="Page_174">[Pg 174]</a></span></p>
+
+<div class="poem">
+
+<h5>DOODLE-BUG</h5>
+
+<div class="stanza">
+<span class="i0">Doodle-bug! Doodle-bug! Come git sweet milk.<br /></span>
+<span class="i0">Doodle-bug! Doodle-bug! Come git butter.<br /></span>
+<span class="i0"><ins class="correction" title="original reads: Doodle bug!">Doodle-bug!</ins> Doodle-bug! Come git co'n bread.<br /></span>
+<span class="i0">Doodle-bug! Doodle-bug! Come on to Supper.<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5><a name="FNanchor_40_40" id="FNanchor_40_40"></a>
+<a href="#Footnote_40_40" class="fnanchor">[40]</a>RAW HEAD AND BLOODY BONES</h5>
+
+<div class="stanza">
+<span class="i0">Don't talk! Go to sleep!<br /></span>
+<span class="i0">Eyes shet an' don't you peep!<br /></span>
+<span class="i0">Keep still, or he jes moans:<br /></span>
+<span class="i0">"Raw Head an' Bloody Bones!"<br /></span>
+</div></div>
+
+<div class="footnotes">
+<div class="footnote"><p><a name="Footnote_40_40" id="Footnote_40_40"></a><a href="#FNanchor_40_40"><span class="label">[40]</span></a> Repeated to restless children at night to make them lie
+still and go to sleep.</p></div>
+</div>
+
+<div class="poem">
+
+<h5>MYSTERIOUS FACE WASHING</h5>
+
+<div class="stanza">
+<span class="i0">I wash my face in de watah<br /></span>
+<span class="i0">Dat's neider rain nor run.<br /></span>
+<span class="i0">I wipes my face on de towel<br /></span>
+<span class="i0">Dat's neider wove nor spun.&mdash;<br /></span>
+<span class="i0">I wash my face in de dew,<br /></span>
+<span class="i0">An' I dries it in de sun.<br /></span>
+</div></div>
+
+<p><!-- Page 175 --><span class='pagenum'><a name="Page_175" id="Page_175">[Pg 175]</a></span></p>
+
+<div class="poem">
+
+<h5>GO TO BED</h5>
+
+<div class="stanza">
+<span class="i0">De wood's in de kitchen.<br /></span>
+<span class="i0">De hoss's in de shed.<br /></span>
+<span class="i0">You liddle Niggers<br /></span>
+<span class="i0">Had better go to bed.<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5><a name="FNanchor_41_41" id="FNanchor_41_41"></a>
+<a href="#Footnote_41_41" class="fnanchor">[41]</a>BUCK-EYED RABBIT! WHOOPEE!</h5>
+
+<div class="stanza">
+<span class="i0">Dat Squir'l, he's a cunnin' thing;<br /></span>
+<span class="i0">He tote a bushy tail.<br /></span>
+<span class="i0">He jes lug off Uncle Sambo's co'n,<br /></span>
+<span class="i0">An' heart it on a rail.<br /></span>
+</div><div class="stanza">
+<span class="i0">Dat Squir'l, he's a cunnin' thing;<br /></span>
+<span class="i0">An' so is ole Jedge B'ar.<br /></span>
+<span class="i0">Br'er Rabbit's gone an' los' his tail<br /></span>
+<span class="i0">'Cep' a liddle bunch of ha'r.<br /></span>
+</div><div class="stanza">
+<span class="i0">Buckeyed Rabbit! Whoopee!<br /></span>
+<span class="i0">Buckeyed Rabbit! Ho!<br /></span>
+<span class="i0">Buckeyed Rabbit! Whoopee!<br /></span>
+<span class="i0">Squir'l's got a long way to go.<br /></span>
+</div></div>
+
+<div class="footnotes">
+<div class="footnote"><p><a name="Footnote_41_41" id="Footnote_41_41"></a><a href="#FNanchor_41_41"><span class="label">[41]</span></a> The explanation of this rhyme is found in the Study in
+Negro Folk Rhymes.</p></div>
+</div>
+
+<p><!-- Page 176 --><span class='pagenum'><a name="Page_176" id="Page_176">[Pg 176]</a></span></p>
+
+<div class="poem">
+
+<h5>CAPTAIN COON</h5>
+
+<div class="stanza">
+<span class="i0">Captain Coon's a mighty man,<br /></span>
+<span class="i0">He trabble atter dark;<br /></span>
+<span class="i0">Wid nothin' 'tall to 'sturb his mind,<br /></span>
+<span class="i0">But to hear my ole dog bark.<br /></span>
+</div><div class="stanza">
+<span class="i0">Dat 'Possum, he's a mighty man,<br /></span>
+<span class="i0">He trabble late at night.<br /></span>
+<span class="i0">He never think to climb a tree,<br /></span>
+<span class="i0">'Till he's feared ole Rober'll bite.<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5>GUINEA GALL</h5>
+
+<div class="stanza">
+<span class="i0">'Way down yon'er in Guinea Gall,<br /></span>
+<span class="i0">De Niggers eats de fat an' all.<br /></span>
+<span class="i0">'Way down yon'er in de cotton fiel',<br /></span>
+<span class="i0">Ev'ry week one peck o' meal.<br /></span>
+<span class="i0">'Way down yon'er ole Mosser swar';<br /></span>
+<span class="i0">Holler at you, an' pitch, an' r'ar;<br /></span>
+<span class="i2">Wid cat o' nine tails,<br /></span>
+<span class="i2">Wid pen o' nine nails,<br /></span>
+<span class="i2">Tee whing, tee bing,<br /></span>
+<span class="i2">An' ev'ry thing!<br /></span>
+</div></div>
+
+<p><!-- Page 177 --><span class='pagenum'><a name="Page_177" id="Page_177">[Pg 177]</a></span></p>
+
+<div class="poem">
+
+<h5>FISHING SIMON</h5>
+
+<div class="stanza">
+<span class="i0">Simon tuck his hook an' pole,<br /></span>
+<span class="i0">An' fished on Sunday we's been told.<br /></span>
+<span class="i0">Fish dem water death bells ring,<br /></span>
+<span class="i0">Talk from out'n de water, sing&mdash;<br /></span>
+<span class="i0">"Bait y&#333;' hook, Simon!<br /></span>
+<span class="i0">Drap y&#333;' line, Simon!<br /></span>
+<span class="i0">Now ketch me, Simon!<br /></span>
+<span class="i0">Pull me out, Simon!<br /></span>
+<span class="i0">Take me home, Simon!<br /></span>
+<span class="i0">Now clean me, Simon!<br /></span>
+<span class="i0">Cut me up now, Simon!<br /></span>
+<span class="i0">Now salt me, Simon!<br /></span>
+<span class="i0">Now fry me, Simon!<br /></span>
+<span class="i0">Dish me up now, Simon!<br /></span>
+<span class="i0">Eat me all, Simon!"<br /></span>
+<span class="i0">Simon e't till he wus full.<br /></span>
+<span class="i0">Still dat fish keep his plate fall.<br /></span>
+<span class="i0">Simon want no m&#333;' at all,<br /></span>
+<span class="i0">Fish say dat he mus' eat all.<br /></span>
+<span class="i0">Simon's sick, so he throw up!<br /></span>
+<span class="i0">He give Sunday fishin' up.<br /></span>
+</div></div>
+
+<p><!-- Page 178 --><span class='pagenum'><a name="Page_178" id="Page_178">[Pg 178]</a></span></p>
+
+<div class="poem">
+
+<h5>A STRANGE OLD WOMAN</h5>
+
+<div class="stanza">
+<span class="i0">Dere wus an ole 'oman, her name wus Nan.<br /></span>
+<span class="i0">She lived an 'oman, an' died a man.<br /></span>
+<span class="i0">De ole 'oman lived to be dried up an' cunnin';<br /></span>
+<span class="i0">One leg stood still, while de tother kep' runnin'.<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5>IN '76</h5>
+
+<div class="stanza">
+<span class="i0">Way down yonder in sebenty-six,<br /></span>
+<span class="i0">Whar I git my jawbone fix;<br /></span>
+<span class="i0">All dem coon-loons eatin' wid a spoon!<br /></span>
+<span class="i0">I'll be ready fer dat Great Day soon.<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5>REDHEAD WOODPECKER</h5>
+
+<div class="stanza">
+<span class="i0">Redhead woodpecker: "Chip! Chip! Chee!"<br /></span>
+<span class="i0">Promise dat he'll marry me.<br /></span>
+<span class="i0">Whar shall de weddin' supper be?<br /></span>
+<span class="i0">Down in de lot, in a rotten holler tree.<br /></span>
+<span class="i0">What will de weddin' supper be?<br /></span>
+<span class="i0">A liddle green worm an' a bumblebee,<br /></span>
+<span class="i0">'Way down yonder on de holler tree.<br /></span>
+<span class="i0">De Redhead woodpecker, "Chip! Chip! Chee!"<br /></span>
+</div></div>
+
+<p><!-- Page 179 --><span class='pagenum'><a name="Page_179" id="Page_179">[Pg 179]</a></span></p>
+
+<div class="poem">
+
+<h5>OLD AUNT KATE</h5>
+
+<div class="stanza">
+<span class="i0">Jes look at Ole Aunt Kate at de gyardin gate!<br /></span>
+<span class="i2">She's a good ole 'oman.<br /></span>
+<span class="i2">W'en she sift 'er meal, she give me de husk;<br /></span>
+<span class="i2">W'en she cook 'er bread, she give me de crust.<br /></span>
+<span class="i2">She put de hosses in de stable;<br /></span>
+<span class="i2">But one jump out, an' skin his nable.<br /></span>
+<span class="i0">Jes look at Ole Aunt Kate at de gyardin gate!<br /></span>
+<span class="i2">Still she's always late.<br /></span>
+</div><div class="stanza">
+<span class="i0">Hurrah fer Ole Aunt Kate by de gyardin gate!<br /></span>
+<span class="i2">She's a fine ole 'oman.<br /></span>
+<span class="i2">Git down dat sifter, take down dat tray!<br /></span>
+<span class="i2">Go 'long, Honey, dere hain't no udder way!<br /></span>
+<span class="i2">She put on dat hoe cake, she went 'round de house.<br /></span>
+<span class="i2">She cook dat 'Possum, an' she call 'im a mouse!<br /></span>
+<span class="i0">Hurrah fer Ole Aunt Kate by de gyardin gate!<br /></span>
+<span class="i2">She's a fine playmate.<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5>CHILDREN'S SEATING RHYME</h5>
+
+<div class="stanza">
+<span class="i0">You set outside, an' ketch de cow-hide.<br /></span>
+<span class="i0">I'll set in de middle, an' play de gol' fiddle.<br /></span>
+<span class="i0">You set 'round about, an' git scrouged out.<br /></span>
+</div></div>
+
+<p><!-- Page 180 --><span class='pagenum'><a name="Page_180" id="Page_180">[Pg 180]</a></span></p>
+
+<div class="poem">
+
+<h5>MY BABY</h5>
+
+<div class="stanza">
+<span class="i0">I'se de daddy of dis liddle black baby.<br /></span>
+<span class="i0">He's his mammy's onliest sweetest liddle Coon.<br /></span>
+<span class="i0">Got de look on de forehead lak his daddy,<br /></span>
+<span class="i0">Pretty eyes jes as big as de moon.<br /></span>
+</div><div class="stanza">
+<span class="i0">I'se de daddy of dis liddle black baby.<br /></span>
+<span class="i0">Yes, his mammy keep de "Sugar" rollin' over.<br /></span>
+<span class="i0">She feed him wid a tin cup an' a spoon;<br /></span>
+<span class="i0">An' he kick lak a pony eatin' clover.<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5>A RACE-STARTER'S RHYME</h5>
+
+<div class="stanza">
+<span class="i0">One fer de money!<br /></span>
+<span class="i0">Two fer de show!<br /></span>
+<span class="i0">Three to git ready,<br /></span>
+<span class="i0">An' four fer to go!<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5>NESTING</h5>
+
+<div class="stanza">
+<span class="i0">De jaybird build on a swingin' lim',<br /></span>
+<span class="i0">De sparrow in de gyardin;<br /></span>
+<span class="i0">Dat ole gray goose in de panel o' de fence,<br /></span>
+<span class="i0">An' de gander on de t'other side o' Jordan.<br /></span>
+</div></div>
+
+<p><!-- Page 181 --><span class='pagenum'><a name="Page_181" id="Page_181">[Pg 181]</a></span></p>
+
+<div class="poem">
+
+<h5>BABY WANTS CHERRIES</h5>
+
+<div class="stanza">
+<span class="i0">De cherries, dey're red; de cherries, dey're ripe;<br /></span>
+<span class="i0">An' de baby it want one.<br /></span>
+<span class="i0">De cherries, dey're hard; de cherries, dey're sour;<br /></span>
+<span class="i0">An' de baby cain't git none.<br /></span>
+</div><div class="stanza">
+<span class="i0">Jes look at dat bird in de cherry tree!<br /></span>
+<span class="i0">He's pickin' 'em one by one!<br /></span>
+<span class="i0">He's shakin' his bill, he's gittin' it fill',<br /></span>
+<span class="i0">An' down dat th'oat dey run!<br /></span>
+</div><div class="stanza">
+<span class="i0">Nev' mind! Bye an' bye dat bird's gwineter fly,<br /></span>
+<span class="i0">An' mammy's gwineter make dat pie.<br /></span>
+<span class="i0">She'll give you a few, fer de baby cain't chew,<br /></span>
+<span class="i0">An' de Pickaninny sholy won't cry.<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5>A PRETTY PAIR OF CHICKENS</h5>
+
+<div class="stanza">
+<span class="i0">Dat box-legged rooster, an' dat bow-legged hen<br /></span>
+<span class="i0">Make a mighty pretty couple, not to be no kin.<br /></span>
+<span class="i0">Dey's jes lak some Niggers wearin' white folks ole britches,<br /></span>
+<span class="i0">Dey thinks dey's lookin' fine, w'en dey needs lots of stitches.<br /></span>
+</div></div>
+
+<p><!-- Page 182 --><span class='pagenum'><a name="Page_182" id="Page_182">[Pg 182]</a></span></p>
+
+<div class="poem">
+
+<h5>TOO MUCH WATERMELON</h5>
+
+<div class="stanza">
+<span class="i0">Dere wus a great big watermillion growin' on de vine.<br /></span>
+<span class="i0">Dere wus a liddle ugly Nigger watchin' all de time.<br /></span>
+<span class="i0">An' w'en dat great big watermillion lay ripenin' in de sun,<br /></span>
+<span class="i0">An' de stripes along its purty skin wus comin' one by one,<br /></span>
+<span class="i0">Dat ugly Nigger pulled it off an' toted it away,<br /></span>
+<span class="i0">An' he e't dat great big watermillion all in one single day.<br /></span>
+<span class="i0">He e't de rinds, an' red meat too, he finish it all trim;<br /></span>
+<span class="i0">An' den,&mdash;dat great big watermillion up an' finish him.<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5>BUTTERFLY</h5>
+
+<div class="stanza">
+<span class="i0">Pretty liddle butterfly, yaller as de gold,<br /></span>
+<span class="i0">My sweet liddle butterfly, you sh&#333;' is mighty bold.<br /></span>
+<span class="i0">You can dance out in de sun, you can fly up high,<br /></span>
+<span class="i0">But you know I'se bound to git you, yet, my liddle butterfly.<br /></span>
+</div></div>
+
+<p><!-- Page 183 --><span class='pagenum'><a name="Page_183" id="Page_183">[Pg 183]</a></span></p>
+
+<div class="poem">
+
+<h5>THE HATED BLACKBIRD AND CROW</h5>
+
+<div class="stanza">
+<span class="i0">Dat Blackbird say unto de Crow:<br /></span>
+<span class="i0">"Dat's why de white folks hates us so;<br /></span>
+<span class="i0">For ever since ole Adam wus born,<br /></span>
+<span class="i0">It's been our rule to gedder green corn."<br /></span>
+</div><div class="stanza">
+<span class="i0">Dat Blackbird say unto de Crow:<br /></span>
+<span class="i0">"If you's not black, den I don't know.<br /></span>
+<span class="i0">White folks calls you black, but I say not;<br /></span>
+<span class="i0">Caze de kittle musn' talk about de pot."<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5>IN A RUSH</h5>
+
+<div class="stanza">
+<span class="i0">Here I comes jes a-rearin' an' a-pitchin',<br /></span>
+<span class="i0">I hain't had no kiss since I lef' de ole kitchin.<br /></span>
+<span class="i0">Candy, dat's sweet; dat's very, very clear;<br /></span>
+<span class="i0">But a kiss from y&#333;' lips would be sweeter, my dear.<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5>TAKING A WALK</h5>
+
+<div class="stanza">
+<span class="i0">We's a-walkin' in de green grass dust, dust, dust.<br /></span>
+<span class="i0">We's a-walkin' in de green grass dust.<br /></span>
+<span class="i0">If you's jes as sweet as I thinks you to be,<br /></span>
+<span class="i0">I'll take you by y&#333;' liddle hand to walk wid me.<br /></span>
+</div></div>
+
+<p><!-- Page 184 --><span class='pagenum'><a name="Page_184" id="Page_184">[Pg 184]</a></span></p>
+
+<div class="poem">
+
+<h5>PAYING DEBTS WITH KICKS</h5>
+
+<div class="stanza">
+<span class="i0">I owes y&#333;' daddy a peck o' peas.<br /></span>
+<span class="i0">I'se gwineter pay it wid my knees.<br /></span>
+<span class="i0">I owes y&#333;' mammy a pound o' meat;<br /></span>
+<span class="i0">An' I'se gwineter pay dat wid my feet.<br /></span>
+<span class="i0">Now, if I owes 'em somethin' m&#333;';<br /></span>
+<span class="i0">You come right back an' let me know.<br /></span>
+<span class="i0">Please say to dem ('fore I fergets)<br /></span>
+<span class="i0">I never fails to pay my debts.<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5>GETTING TEN NEGRO BOYS TOGETHER</h5>
+
+<div class="stanza">
+<span class="i0">One liddle Nigger boy whistle an' stew,<br /></span>
+<span class="i0">He whistle up anudder Nigger an' dat make two.<br /></span>
+<span class="i0">Two liddle Nigger boys shuck de apple tree,<br /></span>
+<span class="i0">Down fall anudder Nigger, an' dat make three.<br /></span>
+<span class="i0">Three liddle Nigger boys, a-wantin' one more,<br /></span>
+<span class="i0">Never has no trouble a-gittin' up four.<br /></span>
+<span class="i0">Four liddle Nigger boys, dey cain't drive.<br /></span>
+<span class="i0">Dey hire a Nigger hack boy, an' dat make five.<br /></span>
+<span class="i0">Five liddle Niggers, bein' calcullated men,<br /></span>
+<span class="i0">Call anudder Nigger 'piece an' dat make ten.<br /></span>
+</div></div>
+
+<p><!-- Page 185 --><span class='pagenum'><a name="Page_185" id="Page_185">[Pg 185]</a></span></p>
+
+<div class="poem">
+
+<h5>HAWK AND CHICKENS</h5>
+
+<div class="stanza">
+<span class="i0">Hen an' chickens in a fodder stack,<br /></span>
+<span class="i0">Mighty busy scratchin'.<br /></span>
+<span class="i0">Hawk settin' off on a swingin' lim',<br /></span>
+<span class="i0">Ready fer de catchin'.<br /></span>
+</div><div class="stanza">
+<span class="i0">Hawk come a-whizzin' wid his bitin' mouf,<br /></span>
+<span class="i0">Couldn' hold hisself in.<br /></span>
+<span class="i0">Hen, flyin' up, knock his eye clean out;<br /></span>
+<span class="i0">An' de Jaybird died a-laughin'.<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5>MUD-LOG POND</h5>
+
+<div class="stanza">
+<span class="i0">As I stepped down by de Mud-log pon',<br /></span>
+<span class="i0">I seed dat bullfrog wid his shoe-boots on.<br /></span>
+<span class="i0">His eyes wus glass, an' his heels wus brass;<br /></span>
+<span class="i0">An' I give him a dollar fer to let me pass.<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5>WHAT WILL WE DO FOR BACON?</h5>
+
+<div class="stanza">
+<span class="i0">What will we do fer bacon now?<br /></span>
+<span class="i0">I'se shot, I'se shot de ole sandy sow!<br /></span>
+<span class="i0">She jumped de fence an' broke de rail;<br /></span>
+<span class="i0">An'&mdash;"Bam!"&mdash;I shot her on de tail.<br /></span>
+</div></div>
+
+<p><!-- Page 186 --><span class='pagenum'><a name="Page_186" id="Page_186">[Pg 186]</a></span></p>
+
+<div class="poem">
+
+<h5>A LITTLE PICKANINNY</h5>
+
+<div class="stanza">
+<span class="i0">Me an' its mammy is both gwine to town,<br /></span>
+<span class="i0">To git dis Pickaninny a liddle hat an' gown.<br /></span>
+<span class="i0">Don't you never let him waller on de fl&#333;'!<br /></span>
+<span class="i0">He's a liddle Pickaninny,<br /></span>
+<span class="i0">Born in ole Virginy.<br /></span>
+<span class="i0">Mammy! Don't de baby grow?<br /></span>
+</div><div class="stanza">
+<span class="i0">Setch a eatin' o' de honey an' a drinkin' o' de wine!<br /></span>
+<span class="i0">We's gwine down togedder fer to have a good time;<br /></span>
+<span class="i0">An' we's gwineter eat, an' drink m&#333;' an' m&#333;'.<br /></span>
+<span class="i0">Oh, sweet liddle <a name="FNanchor_42_42" id="FNanchor_42_42"></a><a href="#Footnote_42_42" class="fnanchor">[42]</a>Pickaninny,<br /></span>
+<span class="i0">Born in ole Virginy.<br /></span>
+<span class="i0">Mammy! How de baby grow!<br /></span>
+</div></div>
+
+<div class="footnotes">
+<div class="footnote"><p><a name="Footnote_42_42" id="Footnote_42_42"></a><a href="#FNanchor_42_42"><span class="label">[42]</span></a> Pickanniny appears to have been an African word used by
+the early American slaves for the word baby.</p></div>
+</div>
+
+<div class="poem">
+
+<h5><a name="FNanchor_43_43" id="FNanchor_43_43"></a>
+<a href="#Footnote_43_43" class="fnanchor">[43]</a>DON'T SING BEFORE BREAKFAST</h5>
+
+<div class="stanza">
+<span class="i0">Don't sing out 'fore Breakfast,<br /></span>
+<span class="i0">Don't sing 'fore you eat,<br /></span>
+<span class="i0">Or you'll cry out 'fore midnight,<br /></span>
+<span class="i0">You'll cry 'fore you sleep.<br /></span>
+</div></div>
+
+<div class="footnotes">
+<div class="footnote"><p><a name="Footnote_43_43" id="Footnote_43_43"></a><a href="#FNanchor_43_43"><span class="label">[43]</span></a> A superstition.</p></div>
+</div>
+
+<p><!-- Page 187 --><span class='pagenum'><a name="Page_187" id="Page_187">[Pg 187]</a></span></p>
+
+<div class="poem">
+
+<h5>MY FOLKS AND YOUR FOLKS</h5>
+
+<div class="stanza">
+<span class="i0">If you an' y&#333;' folks<br /></span>
+<span class="i0">Likes me an' my folks,<br /></span>
+<span class="i0">Lak me an' my folks,<br /></span>
+<span class="i0">Likes you an' y&#333;' folks;<br /></span>
+<span class="i0">You's never seed folks,<br /></span>
+<span class="i0">Since folks 'as been folks,<br /></span>
+<span class="i0">Like you an' y&#333;' folks,<br /></span>
+<span class="i0">Lak me an' my folks.<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5>LITTLE SLEEPING NEGROES</h5>
+
+<div class="stanza">
+<span class="i0">One liddle Nigger a-lyin' in de bed;<br /></span>
+<span class="i0">His eyes shet an' still, lak he been dead.<br /></span>
+</div><div class="stanza">
+<span class="i0">Two liddle Niggers a-lyin' in de bed;<br /></span>
+<span class="i0">A-snorin' an' a-dreamin' of a table spread.<br /></span>
+</div><div class="stanza">
+<span class="i0">Three liddle Niggers a-lyin' in de bed;<br /></span>
+<span class="i0">Deir heels cracked open lak shorten' bread.<br /></span>
+</div><div class="stanza">
+<span class="i0">Four liddle Niggers a-lyin' in de bed;<br /></span>
+<span class="i0">Dey'd better hop out, if dey wants to git fed!<br /></span>
+</div></div>
+
+<p><!-- Page 188 --><span class='pagenum'><a name="Page_188" id="Page_188">[Pg 188]</a></span></p>
+
+<div class="poem">
+
+<h5>MAMMA'S DARLING</h5>
+
+<div class="stanza">
+<span class="i0">Wid flowers on my shoulders,<br /></span>
+<span class="i0">An' wid slippers on my feet;<br /></span>
+<span class="i0">I'se my mammy's darlin'.<br /></span>
+<span class="i0">Don't you think I'se sweet?<br /></span>
+</div><div class="stanza">
+<span class="i0">I wish I had a fourpence,<br /></span>
+<span class="i0">Den I mought use a dime.<br /></span>
+<span class="i0">I wish I had a Sweetheart,<br /></span>
+<span class="i0">To kiss me all de time.<br /></span>
+</div><div class="stanza">
+<span class="i0">I has apples on de table,<br /></span>
+<span class="i0">An' I has peaches on de shelf;<br /></span>
+<span class="i0">But I wish I had a husband&mdash;<br /></span>
+<span class="i0">I'se so tired stayin' to myself.<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5>STEALING A RIDE</h5>
+
+<div class="stanza">
+<span class="i0">Two liddle Nigger boys as black as tar,<br /></span>
+<span class="i0">Tryin' to go to Heaben on a railroad chyar.<br /></span>
+<span class="i0">Off fall Nigger boys on a cross-tie!<br /></span>
+<span class="i0">Dey's gwineter git to Heaben shore bye-an'-bye.<br /></span>
+</div></div>
+
+<p><!-- Page 189 --><span class='pagenum'><a name="Page_189" id="Page_189">[Pg 189]</a></span></p>
+
+<div class="poem">
+
+<h5>WASHING MAMMA'S DISHES</h5>
+
+<div class="stanza">
+<span class="i0">When I wus a liddle boy<br /></span>
+<span class="i0">A-washin' my mammy's dishes,<br /></span>
+<span class="i0">I rund my finger down my th'oat<br /></span>
+<span class="i0">An' pulled out two big fishes!<br /></span>
+</div><div class="stanza">
+<span class="i0">When I wus a liddle boy<br /></span>
+<span class="i0">A-wipin' my mammy's dishes,<br /></span>
+<span class="i0">I sticked my finger in my eye<br /></span>
+<span class="i0">An' I sh&#333;' seed liddle fishes.<br /></span>
+</div><div class="stanza">
+<span class="i0">De big fish swallowed dem all up!<br /></span>
+<span class="i0">It put me jes a-thinkin'.<br /></span>
+<span class="i0">All dem things looks awful cu'ous!<br /></span>
+<span class="i0">I wonder wus I drinkin'?<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5>WILLIE WEE</h5>
+
+<div class="stanza">
+<span class="i0">Willie, Willie, Willie Wee!<br /></span>
+<span class="i0">One, two, three.<br /></span>
+<span class="i0">If you wanna kiss a pretty gal,<br /></span>
+<span class="i0">Come kiss me.<br /></span>
+</div></div>
+
+<p><!-- Page 190 --><span class='pagenum'><a name="Page_190" id="Page_190">[Pg 190]</a></span></p>
+
+<h5>ONE NEGRO THEME SUNG WITH "FROG WENT A-COURTING"</h5>
+
+<div class="figcenter" style="width: 450px;">
+<img src="images/frog.png" width="450" height="307" alt="Frog Went A-Courting Musical Notation" title="" />
+</div>
+<p class="center"><a href="music/205-frog.midi">[Listen]</a></p>
+
+<div class="poem">
+
+<h5>FROG WENT A-COURTING</h5>
+
+<div class="stanza">
+<span class="i0">De frog went a-co'tin', he did ride. Uh-huh! Uh-huh!<br /></span>
+<span class="i0">De frog went a-co'tin', he did ride<br /></span>
+<span class="i0">Wid a sword an' a pistol by 'is side. Uh-huh! Uh-huh!<br /></span>
+</div><div class="stanza">
+<span class="i0">He rid up to Miss Mousie's d&#333;'. Uh-huh! Uh-huh!<br /></span>
+<span class="i0">He rid up to Miss Mousie's d&#333;',<br /></span>
+<span class="i0">Whar he'd of'en been bef&#333;. Uh-huh! Uh-huh!<br /></span>
+</div><div class="stanza">
+<!-- Page 191 --><span class='pagenum'><a name="Page_191" id="Page_191">[Pg 191]</a></span><span class="i0">Says he: "Miss Mousie, is you in?" Uh-huh! Uh-huh!<br /></span>
+<span class="i0">Says he: "Miss Mousie, is you in?"<br /></span>
+<span class="i0">"Oh yes, Sugar Lump! I kyard an' spin." Uh-huh! Uh-huh!<br /></span>
+</div><div class="stanza">
+<span class="i0">He tuck dat Mousie on his knee. Uh-huh! Uh-huh!<br /></span>
+<span class="i0">He tuck dat Mousie on his knee,<br /></span>
+<span class="i0">An' he say: "Dear Honey, marry me!" Uh-huh! Uh-huh!<br /></span>
+</div><div class="stanza">
+<span class="i0">"Oh Suh!" she say, "I cain't do dat." Uh-huh! Uh-huh!<br /></span>
+<span class="i0">"Oh Suh!" she say, "I cain't do dat,<br /></span>
+<span class="i0">Widout de sayso o' uncle Rat." Uh-huh! Uh-huh!<br /></span>
+</div><div class="stanza">
+<span class="i0">Dat ole gray Rat, he soon come home. Uh-huh! Uh-huh!<br /></span>
+<span class="i0">Dat ole gray Rat, he soon come home,<br /></span>
+<span class="i0">Sayin': "Whose been here since I'se been gone?" Uh-huh! Uh-huh!<br /></span>
+</div><div class="stanza">
+<span class="i0">"A fine young gemmun fer to see." Uh-huh! Uh-huh!<br /></span>
+<span class="i0">"A fine young gemmun fer to see,<br /></span>
+<span class="i0">An' one dat axed fer to marry me." Uh-huh! Uh-huh!<br /></span>
+</div><div class="stanza">
+<!-- Page 192 --><span class='pagenum'><a name="Page_192" id="Page_192">[Pg 192]</a></span><span class="i0">Dat Rat jes laugh to split his side. Uh-huh! Uh-huh!<br /></span>
+<span class="i0">Dat Rat jes laugh to split his side.<br /></span>
+<span class="i0">"Jes think o' Mousie's bein' a bride!" Uh-huh! Uh-huh!<br /></span>
+</div><div class="stanza">
+<span class="i0">Nex' day, dat rat went down to town. Uh-huh! Uh-huh!<br /></span>
+<span class="i0">Nex' day dat rat went down to town,<br /></span>
+<span class="i0">To git up de Mousie's Weddin' gown. Uh-huh! Uh-huh!<br /></span>
+</div><div class="stanza">
+<span class="i0">"What's de bes' thing fer de Weddin' gown?" Uh-huh! Uh-huh!<br /></span>
+<span class="i0">"What's de bes' thing fer de Weddin' gown?"&mdash;<br /></span>
+<span class="i0">"Dat acorn hull, all gray an' brown!" Uh-huh! Uh-huh!<br /></span>
+</div><div class="stanza">
+<span class="i0">"Whar shall de Weddin' Infar' be?" Uh-huh! Uh-huh!<br /></span>
+<span class="i0">"Whar shall de Weddin' Infar' be?"&mdash;<br /></span>
+<span class="i0">"Down in de swamp in a holler tree." Uh-huh! Uh-huh!<br /></span>
+</div><div class="stanza">
+<!-- Page 193 --><span class='pagenum'><a name="Page_193" id="Page_193">[Pg 193]</a></span><span class="i0">"What shall de Weddin' Infar' be?" Uh-huh! Uh-huh!<br /></span>
+<span class="i0">"What shall de Weddin' Infar' be?"&mdash;<br /></span>
+<span class="i0">"Two brown beans an' a blackeyed pea." Uh-huh! Uh-huh!<br /></span>
+</div><div class="stanza">
+<span class="i0">Fust to come in wus de Bumblebee. Uh-huh! Uh-huh!<br /></span>
+<span class="i0">Fust to come in wus de Bumblebee.<br /></span>
+<span class="i0">Wid a fiddle an' bow across his knee. Uh-huh! Uh-huh!<br /></span>
+</div><div class="stanza">
+<span class="i0">De nex' dat come wus Khyernel Wren. Uh-huh! Uh-huh!<br /></span>
+<span class="i0">De nex' dat come wus Khyernel Wren,<br /></span>
+<span class="i0">An' he dance a reel wid de Turkey Hen. Uh-huh! Uh-huh!<br /></span>
+</div><div class="stanza">
+<span class="i0">De nex' dat come wus Mistah Snake. Uh-huh! Uh-huh!<br /></span>
+<span class="i0">De nex' dat come wus Mistah Snake,<br /></span>
+<span class="i0">He swallowed de whole weddin' cake! Uh-huh! Uh-huh!<br /></span>
+</div><div class="stanza">
+<!-- Page 194 --><span class='pagenum'><a name="Page_194" id="Page_194">[Pg 194]</a></span><span class="i0">De nex' come in wus Cap'n Flea. Uh-huh! Uh-huh!<br /></span>
+<span class="i0">De nex' come in wus Cap'n Flea,<br /></span>
+<span class="i0">An' he dance a jig fer de Bumblebee. Uh-huh! Uh-huh!<br /></span>
+</div><div class="stanza">
+<span class="i0">An' now come in ole Giner'l Louse. Uh-huh! Uh-huh!<br /></span>
+<span class="i0">An' now come in ole Giner'l Louse.<br /></span>
+<span class="i0">He dance a breakdown 'round de house. Uh-huh! Uh-huh!<br /></span>
+</div><div class="stanza">
+<span class="i0">De nex' to come wus Major Tick. Uh-huh! Uh-huh!<br /></span>
+<span class="i0">De nex' to come wus Major Tick,<br /></span>
+<span class="i0">An' he e't so much it make 'im sick. Uh-huh! Uh-huh!<br /></span>
+</div><div class="stanza">
+<span class="i0">Dey sent fer Mistah Doctah Fly. Uh-huh! Uh-huh!<br /></span>
+<span class="i0">Dey sent fer Mistah Doctah Fly.<br /></span>
+<span class="i0">Says he: "Major Tick, you's boun' to die." Uh-huh! Uh-huh!<br /></span>
+</div><div class="stanza">
+<span class="i0">Oh, den crep' in ole Mistah Cat. Uh-huh! Uh-huh!<br /></span>
+<span class="i0">Oh, den crep' in ole Mistah Cat,<br /></span>
+<span class="i0">An' chilluns, dey all hollered, "Scat!!" Uh-huh!!! Uh-huh!!!<br /></span>
+</div><div class="stanza">
+<!-- Page 195 --><span class='pagenum'><a name="Page_195" id="Page_195">[Pg 195]</a></span><span class="i0">It give dat frog a turble fright. Uh-huh! Uh-huh!<br /></span>
+<span class="i0">It give dat frog a turble fright,<br /></span>
+<span class="i0">An' he up an' say to dem, "Good-night!" Uh-huh! Uh-huh!<br /></span>
+</div><div class="stanza">
+<span class="i0">Dat frog, he swum de lake aroun'. Uh-huh! Uh-huh!<br /></span>
+<span class="i0">Dat frog, he swum de lake aroun',<br /></span>
+<span class="i0">An' a big black duck come gobble 'im down. Uh-huh! Uh-huh!<br /></span>
+</div><div class="stanza">
+<span class="i0">"What d'you say 'us Miss Mousie's lot?" Uh-huh! Uh-huh!<br /></span>
+<span class="i0">"What d'you say 'us Miss Mousie's lot?"&mdash;<br /></span>
+<span class="i0">"W'y&mdash;, she got swallered on de spot!" Uh-huh! Uh-huh!<br /></span>
+</div><div class="stanza">
+<span class="i0">Now, I don't know no m&#333;' 'an dat. Uh-huh! Uh-huh!<br /></span>
+<span class="i0">Now, I don't know no m&#333;' 'an dat.<br /></span>
+<span class="i0">If you gits m&#333;' you can take my hat. Uh-huh! Uh-huh!<br /></span>
+</div><div class="stanza">
+<span class="i0">An' if you thinks dat hat won't do. Uh-huh! Uh-huh!<br /></span>
+<span class="i0">An' if you thinks dat hat won't do,<br /></span>
+<span class="i0">Den you mought take my head 'long, too. Uh-huh!!! Uh-huh!!!<br /></span>
+</div></div>
+
+<p><!-- Page 196 --><span class='pagenum'><a name="Page_196" id="Page_196">[Pg 196]</a></span></p>
+
+<div class="poem">
+
+<h5>SHOO! SHOO!</h5>
+
+<div class="stanza">
+<span class="i0">Shoo! Shoo!<br /></span>
+<span class="i0">What'll I do?<br /></span>
+<span class="i0">Run three mile an' buckle my shoe?<br /></span>
+</div><div class="stanza">
+<span class="i0">No! No!<br /></span>
+<span class="i0">I'se gwineter go,<br /></span>
+<span class="i0">An' kill dat chicken on my fl&#333;'.<br /></span>
+</div><div class="stanza">
+<span class="i0">Oh! My!<br /></span>
+<span class="i0">Chicken pie!<br /></span>
+<span class="i0">Sen' fer de Doctah, I mought die.<br /></span>
+</div><div class="stanza">
+<span class="i0">Christmus here,<br /></span>
+<span class="i0">Once a year.<br /></span>
+<span class="i0">Pass dat cider an' 'simmon beer.<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5>FLAP-JACKS</h5>
+
+<div class="stanza">
+<span class="i0">I loves my wife, an' I loves my baby:<br /></span>
+<span class="i0">An' I loves dem flap-jacks a-floatin' in gravy.<br /></span>
+<span class="i0">You play dem chyards, an' make two passes:<br /></span>
+<span class="i0">While I eats dem flap-jacks a-floatin' in 'lasses.<br /></span>
+</div><div class="stanza">
+<!-- Page 197 --><span class='pagenum'><a name="Page_197" id="Page_197">[Pg 197]</a></span><span class="i0">Now: in come a Nigger an' in come a bear,<br /></span>
+<span class="i0">In come a Nigger dat hain't got no hair.<br /></span>
+<span class="i0">Good-by, Nigger, go right on back,<br /></span>
+<span class="i0">Fer I hain't gwineter give you no flap-jack.<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5>TEACHING TABLE MANNERS</h5>
+
+<div class="stanza">
+<span class="i0">Now whilst we's here 'round de table,<br /></span>
+<span class="i0">All you young ones git right still.<br /></span>
+<span class="i0">I wants to l'arn you some good manners,<br /></span>
+<span class="i0">So's you'll think o' Uncle Bill.<br /></span>
+</div><div class="stanza">
+<span class="i0">Cose we's gwineter 'scuse Merlindy,<br /></span>
+<span class="i0">Caze she's jes a baby yit.<br /></span>
+<span class="i0">But it's time you udder young ones<br /></span>
+<span class="i0">Wus a-l'arnin' a liddle bit.<br /></span>
+</div><div class="stanza">
+<span class="i0">I can 'member as a youngster,<br /></span>
+<span class="i0">Lak you youngsters is to-day;<br /></span>
+<span class="i0">How my mammy l'arnt me manners<br /></span>
+<span class="i0">In a 'culiar kind o' way.<br /></span>
+</div><div class="stanza">
+<span class="i0">One o' mammy's ole time 'quaintance.<br /></span>
+<span class="i0">(Ole Aunt Donie wus her name)<br /></span>
+<span class="i0">Come one night to see my mammy.<br /></span>
+<span class="i0">Mammy co'se 'pared fer de same.<br /></span>
+</div><div class="stanza">
+<!-- Page 198 --><span class='pagenum'><a name="Page_198" id="Page_198">[Pg 198]</a></span><span class="i0">Mammy got de sifter, Honey;<br /></span>
+<span class="i0">An' she tuck an' make up dough,<br /></span>
+<span class="i0">Which she tu'n into hot biscuits.<br /></span>
+<span class="i0">Den we all git smart, you know.<br /></span>
+</div><div class="stanza">
+<span class="i0">'Zerves an' biscuits on de table!<br /></span>
+<span class="i0">Honey, noways could I wait.<br /></span>
+<span class="i0">Ole Aunt Donie wus a good ole 'oman,<br /></span>
+<span class="i0">An' I jes had to pass my plate.<br /></span>
+</div><div class="stanza">
+<span class="i0">I soon swallered down dem biscuit,<br /></span>
+<span class="i0">E't 'em faster dan a shoat.<br /></span>
+<span class="i0">Dey wus a liddle tough an' knotty,<br /></span>
+<span class="i0">But I chawed 'em lak a goat.<br /></span>
+</div><div class="stanza">
+<span class="i0">"Pass de biscuits, please, Mam!<br /></span>
+<span class="i0">Please, Mam, fer I wants some m&#333;'."<br /></span>
+<span class="i0">Lawd! You'd oughter seed my mammy<br /></span>
+<span class="i0">Frownin' up, jes "sorter so."<br /></span>
+</div><div class="stanza">
+<span class="i0">"Won't you pass de biscuit, please, Mam?"<br /></span>
+<span class="i0">I said wid a liddle fear.<br /></span>
+<span class="i0">Dere wus not but one m&#333;' lef', Sir.<br /></span>
+<span class="i0">Mammy riz up out'n her chear.<br /></span>
+</div><div class="stanza">
+<!-- Page 199 --><span class='pagenum'><a name="Page_199" id="Page_199">[Pg 199]</a></span><span class="i0">W'en Aunt Donie lef' our house, Suh,<br /></span>
+<span class="i0">Mammy come lak bees an' ants,<br /></span>
+<span class="i0">Put my head down 'twixt her knees, Suh,<br /></span>
+<span class="i0">Almos' roll me out'n my pants.<br /></span>
+</div><div class="stanza">
+<span class="i0">She had a great big tough hick'ry,<br /></span>
+<span class="i0">An' it help till it convince.<br /></span>
+<span class="i0">Frum dat day clean down to dis one,<br /></span>
+<span class="i0">I'se had manners ev'r since.<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5>MISS BLODGER</h5>
+
+<div class="stanza">
+<span class="i0">De rats an' de mice, dey rund up stairs,<br /></span>
+<span class="i0">Fer to hear Miss Blodger say her prayers.<br /></span>
+<span class="i0">Now here I stan's 'fore Miss Blodger.<br /></span>
+<span class="i0">She 'spects to hit me, but I'se gwineter dodge her.<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5>THE LITTLE NEGRO FLY</h5>
+
+<div class="stanza">
+<span class="i0">Dere's a liddle Nigger fly<br /></span>
+<span class="i0">Got a pretty liddle eye;<br /></span>
+<span class="i0">But he don't know 'is A, B, C's.<br /></span>
+<span class="i0">He up an' crawl de book,<br /></span>
+<span class="i0">An' he eben 'pears to look;<br /></span>
+<span class="i0">But he don't know 'is A, B, C's.<br /></span>
+</div></div>
+
+<p><!-- Page 200 --><span class='pagenum'><a name="Page_200" id="Page_200">[Pg 200]</a></span></p>
+
+<div class="poem">
+
+<h5>DESTINIES OF GOOD AND BAD CHILDREN</h5>
+
+<div class="stanza">
+<span class="i0">One, two, three, f&#333;', five, six, seben;<br /></span>
+<span class="i0">All de good chilluns goes to Heaben.<br /></span>
+<span class="i0">All de bad chilluns goes below,<br /></span>
+<span class="i0">To <a name="FNanchor_44_44" id="FNanchor_44_44"></a><a href="#Footnote_44_44" class="fnanchor">[44]</a>segashuate wid ole man <a name="FNanchor_45_45" id="FNanchor_45_45"></a><a href="#Footnote_45_45" class="fnanchor">[45]</a>Joe.<br /></span>
+</div><div class="stanza">
+<span class="i0">One, two, three, f&#333;', five, six, seben, eight;<br /></span>
+<span class="i0">All de good chilluns goes in de Pearly Gate.<br /></span>
+<span class="i0">But all de bad chilluns goes the Broad Road below,<br /></span>
+<span class="i0">To segashuate wid ole man Joe.<br /></span>
+</div></div>
+
+<div class="footnotes">
+<div class="footnote"><p><a name="Footnote_44_44" id="Footnote_44_44"></a><a href="#FNanchor_44_44"><span class="label">[44]</span></a> Segashuate means associate with.</p></div>
+
+<div class="footnote"><p><a name="Footnote_45_45" id="Footnote_45_45"></a><a href="#FNanchor_45_45"><span class="label">[45]</span></a> Read first stanza of "Sheep Shell Corn," to know of ole
+man Joe.</p></div>
+</div>
+
+<div class="poem">
+
+<h5>BLACK-EYED PEAS FOR LUCK</h5>
+
+<div class="stanza">
+<span class="i0">One time I went a-huntin',<br /></span>
+<span class="i0">I heared dat 'possum sneeze.<br /></span>
+<span class="i0">I hollered back to Susan Ann:<br /></span>
+<span class="i0">"Put on a pot o' peas."<br /></span>
+</div><div class="stanza">
+<span class="i0">Dat good ole 'lasses candy,<br /></span>
+<span class="i0">What makes de eyeballs shine,<br /></span>
+<span class="i0">Wid 'possum peas an' taters,<br /></span>
+<span class="i0">Is my dish all de time.<br /></span>
+</div><div class="stanza">
+<!-- Page 201 --><span class='pagenum'><a name="Page_201" id="Page_201">[Pg 201]</a></span><span class="i0"><a name="FNanchor_46_46" id="FNanchor_46_46"></a><a href="#Footnote_46_46" class="fnanchor">[46]</a>Dem black-eyed peas is lucky;<br /></span>
+<span class="i0">When e't on New Year's day,<br /></span>
+<span class="i0">You always has sweet taters,<br /></span>
+<span class="i0">An' 'possum come your way.<br /></span>
+</div></div>
+
+<div class="footnotes">
+<div class="footnote"><p><a name="Footnote_46_46" id="Footnote_46_46"></a><a href="#FNanchor_46_46"><span class="label">[46]</span></a> This last stanza embodies one of the old superstitions.</p></div>
+</div>
+
+<div class="poem">
+
+<h5><a name="FNanchor_47_47" id="FNanchor_47_47"></a>
+<a href="#Footnote_47_47" class="fnanchor">[47]</a>PERIWINKLE</h5>
+
+<div class="stanza">
+<span class="i0">Pennywinkle, pennywinkle, poke out y&#333;' ho'n;<br /></span>
+<span class="i0">An' I'll give you five dollahs an' a bar'l o' co'n.<br /></span>
+<span class="i0">Pennywinkle! Pennywinkle! Dat gal love me?<br /></span>
+<span class="i0">Jes stick out y&#333;' ho'n all pinted to a tree.<br /></span>
+</div></div>
+
+<div class="footnotes">
+<div class="footnote"><p><a name="Footnote_47_47" id="Footnote_47_47"></a><a href="#FNanchor_47_47"><span class="label">[47]</span></a> The Periwinkle seems to have been used as an oracle by
+some Negroes in the days of their enslavement.</p></div>
+</div>
+
+<div class="poem">
+
+<h5>TRAINING THE BOY</h5>
+
+<div class="stanza">
+<span class="i0">W'en I wus a liddle boy,<br /></span>
+<span class="i0">Jes thirteen inches high,<br /></span>
+<span class="i0">I useter climb de table legs,<br /></span>
+<span class="i0">An' steal off cake an' pie.<br /></span>
+</div><div class="stanza">
+<span class="i0">Altho' I wus a liddle boy,<br /></span>
+<span class="i0">An' tho' I wusn't high,<br /></span>
+<span class="i0">My mammy took dat keen switch down,<br /></span>
+<span class="i0">An' whupped me till I cry.<br /></span>
+</div><div class="stanza">
+<!-- Page 202 --><span class='pagenum'><a name="Page_202" id="Page_202">[Pg 202]</a></span><span class="i0">Now I is a great big boy,<br /></span>
+<span class="i0">An' Mammy, she cain't do it;<br /></span>
+<span class="i0">My daddy gits a great big stick,<br /></span>
+<span class="i0">An' pulls me right down to it.<br /></span>
+</div><div class="stanza">
+<span class="i0">Dey say: "No breakin' dishes now;<br /></span>
+<span class="i0">No stealin' an' no lies."<br /></span>
+<span class="i0">An' since I is a great big boy,<br /></span>
+<span class="i0">Dey 'spects me to act wise.<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5><a name="FNanchor_48_48" id="FNanchor_48_48"></a>
+<a href="#Footnote_48_48" class="fnanchor">[48]</a>BAT! BAT!</h5>
+
+<div class="stanza">
+<span class="i0">Bat! Bat! Come un'er my hat,<br /></span>
+<span class="i0">An' I'll give you a slish o' bacon.<br /></span>
+<span class="i0">But don't bring none y&#333;' ole bedbugs,<br /></span>
+<span class="i0">If you don't want to git fersaken.<br /></span>
+</div></div>
+
+<div class="footnotes">
+<div class="footnote"><p><a name="Footnote_48_48" id="Footnote_48_48"></a><a href="#FNanchor_48_48"><span class="label">[48]</span></a> A superstition that it is good luck to catch a bat in
+one's hat if he doesn't get bedbugs by so doing.</p></div>
+</div>
+
+<div class="poem">
+
+<h5>RANDSOME TANTSOME</h5>
+
+<div class="stanza">
+<span class="i0">Randsome Tantsome!&mdash;Gwine to de Fair?<br /></span>
+<span class="i0">Randsome Tantsome!&mdash;W'at you gwineter wear?<br /></span>
+<span class="i0">"Dem shoes an' stockin's I'se bound to wear!"<br /></span>
+<span class="i0">Randsome Tantsome a-gwine to de Fair.<br /></span>
+</div></div>
+
+<p><!-- Page 203 --><span class='pagenum'><a name="Page_203" id="Page_203">[Pg 203]</a></span></p>
+
+<div class="poem">
+
+<h5>ARE YOU CAREFUL?</h5>
+
+<div class="stanza">
+<span class="i0">Is you keerful; w'en you goes down de street,<br /></span>
+<span class="i0">To see dat y&#333;' cloze looks nice an' neat?<br /></span>
+<span class="i0">Does you watch y&#333;' liddle step 'long de way,<br /></span>
+<span class="i0">An' think 'bout dem words dat you say?<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5>RABBIT HASH</h5>
+
+<div class="stanza">
+<span class="i0">Dere wus a big ole rabbit<br /></span>
+<span class="i0">Dat had a mighty habit<br /></span>
+<span class="i0">A-settin' in my gyardin,<br /></span>
+<span class="i0">An' eatin' all my cabbitch.<br /></span>
+<span class="i0">I hit 'im wid a mallet,<br /></span>
+<span class="i0">I tapped 'im wid a maul.<br /></span>
+<span class="i0">Sich anudder rabbit hash,<br /></span>
+<span class="i0">You's never tasted 'tall.<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5>WHY THE WOODPECKER'S HEAD IS RED</h5>
+
+<div class="stanza">
+<span class="i0">Bill Dillix say to dat woodpecker bird:<br /></span>
+<span class="i0">"W'at makes y&#333;' topknot red?"<br /></span>
+<span class="i0">Says he: "I'se picked in de red-hot sun,<br /></span>
+<span class="i0">Till it's done burnt my head."<br /></span>
+</div></div>
+
+<p><!-- Page 204 --><span class='pagenum'><a name="Page_204" id="Page_204">[Pg 204]</a></span></p>
+
+<h4>BLESSINGS</h4>
+
+<p>The chivalry of the Old South rather demanded that all friends should be
+invited to partake of the meal, if they chanced to come calling about
+the time of the meal hour. This ideal also pervaded the lowly slave
+Negro's cabin. In order that this hospitality might not be abused, the
+Negroes had a little deterrent story which they told their children.
+Below are the fancied Blessings asked by the fictitious Negro family, in
+the story, whose hospitality had been abused.</p>
+
+<div class="poem">
+
+<h5>BLESSING WITH COMPANY PRESENT</h5>
+
+<div class="stanza">
+<span class="i0">Oh Lawd now bless an' b&#299;n' us,<br /></span>
+<span class="i0">An' put ole Satan 'h&#299;n' us.<br /></span>
+<span class="i0">Oh let y&#333;' Sperit m&#299;n' us.<br /></span>
+<span class="i0">Don't let none hongry f&#299;n' us.<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5>BLESSING WITHOUT COMPANY</h5>
+
+<div class="stanza">
+<span class="i0">Oh Lawd have mussy now upon us,<br /></span>
+<span class="i0">An' keep 'way some our neighbors from us.<br /></span>
+<span class="i0">For w'en dey all comes down upon us,<br /></span>
+<span class="i0">Dey eats m&#333;s' all our victuals from us.<br /></span>
+</div></div>
+
+<p><!-- Page 205 --><span class='pagenum'><a name="Page_205" id="Page_205">[Pg 205]</a></span></p>
+
+<div class="poem">
+
+<h5>ANIMAL PERSECUTORS</h5>
+
+<div class="stanza">
+<span class="i0">I went up on de mountain,<br /></span>
+<span class="i0">To git a bag o' co'n.<br /></span>
+<span class="i0">Dat coon, he sicked 'is dog on me,<br /></span>
+<span class="i0">Dat 'possum blowed 'is ho'n.<br /></span>
+</div><div class="stanza">
+<span class="i0">Dat gobbler up an' laugh at me.<br /></span>
+<span class="i0">Dat pattridge giggled out.<br /></span>
+<span class="i0">Dat peacock squall to bust 'is sides,<br /></span>
+<span class="i0">To see me runnin' 'bout.<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5>FOUR RUNAWAY NEGROES&mdash;WHENCE THEY CAME</h5>
+
+<div class="stanza">
+<span class="i0">Once f&#333;' runaway Niggers,<br /></span>
+<span class="i0">Dey met in de road.<br /></span>
+<span class="i0">An' dey ax one nudder:<br /></span>
+<span class="i0">Whar dey come from.<br /></span>
+<span class="i0">Den one up an' say:<br /></span>
+<span class="i1">"I'se jes come down from Chapel Hill<br /></span>
+<span class="i1">Whar de Niggers hain't wuked an' never will."<br /></span>
+</div><div class="stanza">
+<span class="i0">Den anudder up an' say:<br /></span>
+<span class="i1">"I'se jes come here from Guinea Gall<br /></span>
+<span class="i1">Whar dey eats de cow up, skin an' all."<br /></span>
+</div><div class="stanza">
+<!-- Page 206 --><span class='pagenum'><a name="Page_206" id="Page_206">[Pg 206]</a></span><span class="i0">Den de nex' Nigger say<br /></span>
+<span class="i0">Whar he done come from:<br /></span>
+<span class="i1">"Dey wuked you night an' day as dey could;<br /></span>
+<span class="i1">Dey never had stopped an' dey never would."<br /></span>
+</div><div class="stanza">
+<span class="i0">De las' Nigger say<br /></span>
+<span class="i0">Whar he come from:<br /></span>
+<span class="i1">"De Niggers all went out to de Ball;<br /></span>
+<span class="i1">De thick, de thin, de short, de tall."<br /></span>
+</div><div class="stanza">
+<span class="i0">But dey'd all please set up,<br /></span>
+<span class="i0">Jes lak ole Br'er Rabbit<br /></span>
+<span class="i0">W'en he look fer a dog.<br /></span>
+<span class="i0">An' keep it in mind,<br /></span>
+<span class="i0">Whilst dey boasts 'bout deir gals<br /></span>
+<span class="i0">An' dem t'other things:<br /></span>
+<span class="i1">"Dat none deir gals wus lak Sallie Jane,<br /></span>
+<span class="i1">Fer dat gal wus sweeter dan sugar cane."<br /></span>
+</div></div>
+
+<p><!-- Page 207 --><span class='pagenum'><a name="Page_207" id="Page_207">[Pg 207]</a></span></p>
+
+<h3>Wise Saying Section</h3>
+
+<div class="poem">
+
+<h5>LEARN TO COUNT</h5>
+
+<div class="stanza">
+<span class="i0">Naught's a naught,<br /></span>
+<span class="i0">Five's a figger.<br /></span>
+<span class="i0">All fer de white man,<br /></span>
+<span class="i0">None fer de Nigger.<br /></span>
+</div><div class="stanza">
+<span class="i0">Ten's a ten,<br /></span>
+<span class="i0">But it's mighty funny;<br /></span>
+<span class="i0">When you cain't count good,<br /></span>
+<span class="i0">You hain't got no money.<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5>THE WAR IS ON</h5>
+
+<div class="stanza">
+<span class="i0">De boll-weevil's in de cotton,<br /></span>
+<span class="i0">De cut-worm's in de corn,<br /></span>
+<span class="i0">De Devil's in de white man;<br /></span>
+<span class="i0">An' de wah's a-gwine on.<br /></span>
+<span class="i0">Poor Nigger hain't got no home!<br /></span>
+<span class="i0">Poor Nigger hain't got no home!<br /></span>
+</div></div>
+
+<p><!-- Page 208 --><span class='pagenum'><a name="Page_208" id="Page_208">[Pg 208]</a></span></p>
+
+<div class="poem">
+
+<h5>HOW TO PLANT AND CULTIVATE SEEDS</h5>
+
+<div class="stanza">
+<span class="i0">Plant: One fer de blackbird<br /></span>
+<span class="i2">Two fer de crow,<br /></span>
+<span class="i2">Three fer de jaybird<br /></span>
+<span class="i2">An' f&#333;' fer to grow.<br /></span>
+</div><div class="stanza">
+<span class="i0">Den: When you goes to wuk,<br /></span>
+<span class="i2">Don't never stand still;<br /></span>
+<span class="i2">When you pull de grass,<br /></span>
+<span class="i2">Pull it out'n de hill.<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5>A MAN OF WORDS</h5>
+
+<div class="stanza">
+<span class="i0">A man o' words an' not o' deeds,<br /></span>
+<span class="i0">Is lak a gyarden full o' weeds.<br /></span>
+<span class="i1">De weeds 'gin to grow<br /></span>
+<span class="i1">Lak a gyarden full o' snow.<br /></span>
+<span class="i1">De snow 'gin to fly<br /></span>
+<span class="i1">Lak a eagle in de sky.<br /></span>
+<span class="i1">De sky 'gin to roar<br /></span>
+<span class="i1">Lak a hammer on y&#333;' door.<br /></span>
+<span class="i1">De door 'gin to crack<br /></span>
+<span class="i1">Lak a hick'ry on y&#333;' back.<!-- Page 209 --><span class='pagenum'><a name="Page_209" id="Page_209">[Pg 209]</a></span><br /></span>
+<span class="i1">Y&#333;' back 'gin to smart<br /></span>
+<span class="i1">Lak a knife in y&#333;' heart.<br /></span>
+<span class="i1">Y&#333;' heart 'gin to fail<br /></span>
+<span class="i1">Lak a boat widout a sail.<br /></span>
+<span class="i1">De boat 'gin to sink<br /></span>
+<span class="i1">Lak a bottle full o' ink.<br /></span>
+<span class="i1">Dat ink, it won't write<br /></span>
+<span class="i1">Neider black nor white.<br /></span>
+<span class="i0">Dat man o' words an' not o' deeds,<br /></span>
+<span class="i0">Is lak a gyarden full o' weeds.<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5>INDEPENDENT</h5>
+
+<div class="stanza">
+<span class="i0">I'se jes as innerpenunt as a pig on ice.<br /></span>
+<span class="i0">Gwineter git up ag'in if I slips down twice.<br /></span>
+<span class="i0">If I cain't git up, I can jes lie down.<br /></span>
+<span class="i0">I don't want no Niggers to be he'pin' me 'roun'.<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5>TEMPERANCE RHYME</h5>
+
+<div class="stanza">
+<span class="i0">Whisky nor brandy hain't no friend to my kind.<br /></span>
+<span class="i0">Dey killed my p&#333;' daddy, an' dey troubled my mind.<br /></span>
+<span class="i0">Sometime he drunk whisky, sometime he drunk ale;<br /></span>
+<span class="i0">Sometime he kotch de rawhide, an' sometime de flail.<br /></span>
+</div><div class="stanza">
+<!-- Page 210 --><span class='pagenum'><a name="Page_210" id="Page_210">[Pg 210]</a></span><span class="i0">On yon'er high mountain, I'll set up dar high;<br /></span>
+<span class="i0">An' de wild geese can cheer me while passin' on by.<br /></span>
+<span class="i0">Go 'way, young ladies, an' let me alone;<br /></span>
+<span class="i0">For you know I'se a poor boy, an' a long ways from home.<br /></span>
+</div><div class="stanza">
+<span class="i0">Go put up de hosses an' give 'em some hay;<br /></span>
+<span class="i0">But don't give me no whisky, so long as I stay.<br /></span>
+<span class="i0">For whisky nor brandy hain't friend to my kind;<br /></span>
+<span class="i0">Dey killed my p&#333;' daddy, an' dey troubled my mind.<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5>THAT HYPOCRITE</h5>
+
+<div class="stanza">
+<span class="i0">I tell you how dat hypocrite do,<br /></span>
+<span class="i0">He come down to my house, an' talk about you;<br /></span>
+<span class="i0">He talk about me, an' he talk about you;<br /></span>
+<span class="i0">An' dat's de way dat hypocrite do.<br /></span>
+</div><div class="stanza">
+<span class="i0">I tell you how dat hypocrite pray.<br /></span>
+<span class="i0">He pray out loud in de hypocrite way.<br /></span>
+<span class="i0">He pray out loud, got a heap to say;<br /></span>
+<span class="i0">An' dat's de way dat hypocrite pray.<br /></span>
+</div><div class="stanza">
+<span class="i0">I tell you how dat hypocrite 'ten',<br /></span>
+<span class="i0">He 'ten' dat he love, an' he don't love men.<br /></span>
+<span class="i0">He 'ten' dat he love, an' he hate Br'er Ben;<br /></span>
+<span class="i0">An' dat's de way dat hypocrite 'ten'.<br /></span>
+</div></div>
+
+<p><!-- Page 211 --><span class='pagenum'><a name="Page_211" id="Page_211">[Pg 211]</a></span></p>
+
+<div class="poem">
+
+<h5>DRINKING RAZOR SOUP</h5>
+
+<div class="stanza">
+<span class="i0">He's been drinkin' razzer soup;<br /></span>
+<span class="i0">Dat sharp Nigger, black lak ink.<br /></span>
+<span class="i0">If he don't watch dat tongue o' his,<br /></span>
+<span class="i0">Somebody'll hurt 'im 'f&#333;r' he think.<br /></span>
+</div><div class="stanza">
+<span class="i0">He cain't drive de pigeons t' roost,<br /></span>
+<span class="i0">Dough he talk so big an' smart.<br /></span>
+<span class="i0">Hain't got de sense to tole 'em in.<br /></span>
+<span class="i0">Cain't more 'an drive dat ole mule chyart.<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5>OLD MAN KNOW-ALL</h5>
+
+<div class="stanza">
+<span class="i0">Ole man Know-All, he come 'round<br /></span>
+<span class="i0">Wid his nose in de air, turned 'way frum de ground.<br /></span>
+<span class="i0">His ole woolly head hain't been combed fer a week;<br /></span>
+<span class="i0">It say: "Keep still, while Know-All speak."<br /></span>
+</div><div class="stanza">
+<span class="i0">Ole man Know-All's tongue, it run;<br /></span>
+<span class="i0">He jes know'd ev'rything under de sun.<br /></span>
+<span class="i0">When you knowed one thing, he knowed m&#333;'.<br /></span>
+<span class="i0">He 'us sharp 'nough to stick an' green 'nough to grow.<br /></span>
+</div><div class="stanza">
+<!-- Page 212 --><span class='pagenum'><a name="Page_212" id="Page_212">[Pg 212]</a></span><span class="i0">Ole man Know-All died las' week.<br /></span>
+<span class="i0">He got drowned in de middle o' de creek.<br /></span>
+<span class="i0">De bridge wus dar, an' dar to stay.<br /></span>
+<span class="i0">But he knowed too much to go dat way.<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5>FED FROM THE TREE OF KNOWLEDGE</h5>
+
+<div class="stanza">
+<span class="i0">I nebber starts to break my colt,<br /></span>
+<span class="i0">Till he's ole enough to trabble.<br /></span>
+<span class="i0">I nebber digs my taters up<br /></span>
+<span class="i0">Wen dey's only right to grabble.<br /></span>
+<span class="i0">So w'en you sees me risin' up<br /></span>
+<span class="i0">To structify in meetin',<br /></span>
+<span class="i0">You can know I'se climbed de Knowledge Tree<br /></span>
+<span class="i0">An' done some apple eatin'.<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5>THE TONGUE</h5>
+
+<div class="stanza">
+<span class="i0">Got a tongue dat jes run when it walk?<br /></span>
+<span class="i0">It cain't talk.<br /></span>
+<span class="i0">Got a tongue dat can hush when it talk?&mdash;<br /></span>
+<span class="i0">It cain't squawk.<br /></span>
+</div></div>
+
+<p><!-- Page 213 --><span class='pagenum'><a name="Page_213" id="Page_213">[Pg 213]</a></span></p>
+
+<div class="poem">
+
+<h5>BRAG AND BOAST</h5>
+
+<div class="stanza">
+<span class="i0">Brag is a big dog;<br /></span>
+<span class="i0">But Hold Fast, he is better.<br /></span>
+<span class="i0">Dem big black rough hands,<br /></span>
+<span class="i0">Dey cain't write no letter.<br /></span>
+</div><div class="stanza">
+<span class="i0">Boast, he barks an' growls loud;<br /></span>
+<span class="i0">But Bulger, he hain't no shirker.<br /></span>
+<span class="i0">Dat big loud mouf Nigger,<br /></span>
+<span class="i0">He hain't never no worker.<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5>SELF-CONTROL</h5>
+
+<div class="stanza">
+<span class="i0">Befo' you says dat ugly word,<br /></span>
+<span class="i0">You stop an' count ten.<br /></span>
+<span class="i0">Den if you wants to say dat word,<br /></span>
+<span class="i0">Begin an' count again.<br /></span>
+</div><div class="stanza">
+<span class="i0">Don't have a tongue tied in de middle,<br /></span>
+<span class="i0">An' loose frum en' to en'.<br /></span>
+<span class="i0">You mus' think twice, den speak once;<br /></span>
+<span class="i0">Dat <a name="FNanchor_49_49" id="FNanchor_49_49"></a><a href="#Footnote_49_49" class="fnanchor">[49]</a>donkey cain't count ten.<br /></span>
+</div></div>
+
+<div class="footnotes">
+<div class="footnote"><p><a name="Footnote_49_49" id="Footnote_49_49"></a><a href="#FNanchor_49_49"><span class="label">[49]</span></a> The somewhat less dignified term was more commonly used.</p></div>
+</div>
+
+<p><!-- Page 214 --><span class='pagenum'><a name="Page_214" id="Page_214">[Pg 214]</a></span></p>
+
+<div class="poem">
+
+<h5>SPEAK SOFTLY</h5>
+
+<div class="stanza">
+<span class="i0">"Wus dat you spoke,<br /></span>
+<span class="i0">Or a fence rail broke?"<br /></span>
+<span class="i0">Br'er Rabbit say to de Jay<br /></span>
+<span class="i0"><a name="FNanchor_50_50" id="FNanchor_50_50"></a><a href="#Footnote_50_50" class="fnanchor">[50]</a>W'en you don't speak sof',<br /></span>
+<span class="i0">Y&#333;' baits comes off;<br /></span>
+<span class="i0">An' de fish jes swim away.<br /></span>
+</div></div>
+
+<div class="footnotes">
+<div class="footnote"><p><a name="Footnote_50_50" id="Footnote_50_50"></a><a href="#FNanchor_50_50"><span class="label">[50]</span></a> The last three lines of the rhyme was a superstition
+current among antebellum Negroes.</p></div>
+</div>
+
+<div class="poem">
+
+<h5>STILL WATER RUNS DEEP</h5>
+
+<div class="stanza">
+<span class="i0">Dat still water, it run deep.<br /></span>
+<span class="i0">Dat shaller water prattle.<br /></span>
+<span class="i0">Dat tongue, hung in a holler head,<br /></span>
+<span class="i0">Jes roll 'round an' rattle.<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5>DON'T TELL ALL YOU KNOW</h5>
+
+<div class="stanza">
+<span class="i0">Keep dis in min', an' all 'll go right;<br /></span>
+<span class="i0">As on y&#333;' way you goes;<br /></span>
+<span class="i0">Be shore you knows 'bout all you tells,<br /></span>
+<span class="i0">But don't tell all you knows.<br /></span>
+</div></div>
+
+<p><!-- Page 215 --><span class='pagenum'><a name="Page_215" id="Page_215">[Pg 215]</a></span></p>
+
+<div class="poem">
+
+<h5><a name="FNanchor_51_51" id="FNanchor_51_51"></a>
+<a href="#Footnote_51_51" class="fnanchor">[51]</a>JACK AND DINAH WANT FREEDOM</h5>
+
+<div class="stanza">
+<span class="i0">Ole Aunt Dinah, she's jes lak me.<br /></span>
+<span class="i0">She wuk so hard dat she want to be free.<br /></span>
+<span class="i0">But, you know, Aunt Dinah's gittin' sorter ole;<br /></span>
+<span class="i0">An' she's feared to go to Canada, caze it's so c&#333;l'.<br /></span>
+</div><div class="stanza">
+<span class="i0">Dar wus ole Uncle Jack, he want to git free.<br /></span>
+<span class="i0">He find de way Norf by de moss on de tree.<br /></span>
+<span class="i0">He cross dat <a name="FNanchor_52_52" id="FNanchor_52_52"></a><a href="#Footnote_52_52" class="fnanchor">[52]</a>river a-floatin' in a tub.<br /></span>
+<span class="i0">Dem <a name="FNanchor_53_53" id="FNanchor_53_53"></a><a href="#Footnote_53_53" class="fnanchor">[53]</a>Patterollers give 'im a mighty close rub.<br /></span>
+</div><div class="stanza">
+<span class="i0">Dar is ole Uncle Billy, he's a mighty good Nigger.<br /></span>
+<span class="i0">He tote all de news to Mosser a little bigger.<br /></span>
+<span class="i0">When you tells Uncle Billy, you wants free fer a fac';<br /></span>
+<span class="i0">De nex' day de hide drap off'n y&#333;' back.<br /></span>
+</div></div>
+
+<div class="footnotes">
+<div class="footnote"><p><a name="Footnote_51_51" id="Footnote_51_51"></a><a href="#FNanchor_51_51"><span class="label">[51]</span></a> The writer wishes to give explanation as to why the rhyme
+"Jack and Dinah Want Freedom" appears under the Section of
+Psycho-composite Rhymes as set forth in "The Study&mdash;&mdash;" of our volume.
+The Negroes repeating this rhyme did not always give the names Jack,
+Dinah, and Billy, as we here record them, but at their pleasure put in
+the individual name of the Negro in their surroundings whom the stanza
+being repeated might represent. Thus this little rhyme was the
+scientific dividing, on the part of the Negroes themselves, of the
+members of their race into three general classes with respect to the
+matter of Freedom.</p></div>
+
+<div class="footnote"><p><a name="Footnote_52_52" id="Footnote_52_52"></a><a href="#FNanchor_52_52"><span class="label">[52]</span></a> The Ohio River.</p></div>
+
+<div class="footnote"><p><a name="Footnote_53_53" id="Footnote_53_53"></a><a href="#FNanchor_53_53"><span class="label">[53]</span></a> White guards who caught and kept slaves at the master's
+home.</p></div>
+</div>
+
+<p><!-- Page 216 --><span class='pagenum'><a name="Page_216" id="Page_216">[Pg 216]</a></span></p>
+
+<h3>Foreign Section</h3>
+
+<h4><span class="smcap">African Rhymes</span></h4>
+
+<p>The rhymes "Tuba Blay," "Near Waldo Tee-do O mah nah mejai," "Sai
+Boddeoh Sumpun Komo," and "Byanswahn-Byanswahn" were kindly contributed
+by Mr. John H. Zeigler, Monrovia, Liberia, and Mr. C. T. Wardoh of the
+Bassa Tribe, Liberia. They are natives and are now in America for
+collegiate study and training.</p>
+
+<div class="poem">
+
+<h5>NEAR-WALDO-TEE-DO O MAH NAH MEJAI<br />
+<span class="poemsub">OR</span><br />
+NEAR-WALDO-TEE-DO IS MY SWEETHEART</h5>
+
+<div class="stanza">
+<span class="i0">1.  A yehn me doddoc Near Waldo Tee-do.<br /></span>
+<span class="i1">Yehn me doddoc o-o seoh-o-o.<br /></span>
+<span class="i1">Omah nahn mejai Near Waldo Tee-do.<br /></span>
+<span class="i1">Omah nahn mejai Near Waldo Tee-do.<br /></span>
+</div><div class="stanza">
+<!-- Page 217 --><span class='pagenum'><a name="Page_217" id="Page_217">[Pg 217]</a></span>
+<span class="i0"><i>Translation</i><br /></span>
+</div><div class="stanza">
+<span class="i1">Near Waldo Tee-do gave me a suit.<br /></span>
+<span class="i1">He gave me a suit.<br /></span>
+<span class="i1">Near Waldo Tee-do is my sweetheart.<br /></span>
+<span class="i1">Near Waldo Tee-do is my sweetheart.<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5>TUBA BLAY<br />
+<span class="poemsub">OR</span><br />
+AN EVENING SONG</h5>
+
+<div class="stanza">
+<span class="i0">1.  Seah O, Tuba blay.<br /></span>
+<span class="i1">Tuba blay, Tuba blay.<br /></span>
+</div><div class="stanza">
+<span class="i0">2.  O blay wulna nahn blay.<br /></span>
+<span class="i1">Tuba blay, Tuba blay.<br /></span>
+</div><div class="stanza">
+<span class="i0"><i>Translation</i><br /></span>
+</div><div class="stanza">
+<span class="i0">1.  Oh please Tuba sing.<br /></span>
+<span class="i1">Tuba sing, Tuba sing.<br /></span>
+</div><div class="stanza">
+<span class="i0">2.  Oh sing that song.<br /></span>
+<span class="i1">Tuba sing, Tuba sing.<br /></span>
+</div></div>
+
+<div class="poem">
+<h5>THE OWL</h5>
+
+<p>We are indebted for this Baluba rhyme to Dr. and Mrs. William H.
+Sheppard, pioneer missionaries under the Southern Presbyterian Church.
+The little production comes from Congo, Africa.</p>
+
+<div class="stanza">
+<!-- Page 218 --><span class='pagenum'><a name="Page_218" id="Page_218">[Pg 218]</a></span><span class="i0">Sala wa m&#277;n t&#277;nge, Cimpungelu.<br /></span>
+<span class="i0">Sala wa m&#277;n t&#277;nge, Cimpungelu.<br /></span>
+<span class="i0">Meme taya wewe, Cimpungelu.<br /></span>
+<span class="i0">Sala wa m&#277;n t&#277;nge, Cimpungelu.<br /></span>
+</div><div class="stanza">
+<span class="i0"><i>Translation</i><br /></span>
+</div><div class="stanza">
+<span class="i0">The dancing owl waves his spread tail feathers.<br /></span>
+<span class="i2">I'm the owl.<br /></span>
+<span class="i0">The dancing owl waves his spread tail feathers.<br /></span>
+<span class="i2">I'm the owl.<br /></span>
+<span class="i0">I now tell you by my dancing, I'm the owl.<br /></span>
+<span class="i0">The dancing owl waves his spread tail feathers.<br /></span>
+<span class="i2">I'm the owl.<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5>SAI BODDEOH SUMPUN KOMO<br />
+<span class="poemsub">OR</span><br />
+I AM NOT GOING TO MARRY SUMPUN</h5>
+
+<div class="stanza">
+<span class="i0">1.  Sai Sumpun komo.<br /></span>
+<span class="i1">De Sumpun nenah?<br /></span>
+<span class="i1">Sumpun se jello jeppo<br /></span>
+<span class="i1">Boddeoh Sumpun.<br /></span>
+</div><div class="stanza">
+<span class="i0">2.  Sai Sumpun komo.<br /></span>
+<span class="i1">De Sumpun nenah?<br /></span>
+<span class="i1">Sumpun auch nahn jehn deddoc.<br /></span>
+<span class="i1">Boddeoh Sumpun.<br /></span>
+</div><div class="stanza">
+<!-- Page 219 --><span class='pagenum'><a name="Page_219" id="Page_219">[Pg 219]</a></span><span class="i0"><i>Translation</i><br /></span>
+</div><div class="stanza">
+<span class="i0">1.  I am not going to marry Sumpun.<br /></span>
+<span class="i1">What has Sumpun done?<br /></span>
+<span class="i1">Sumpun doesn't live a seafaring life<br /></span>
+<span class="i1">Boddeoh Sumpun.<br /></span>
+</div><div class="stanza">
+<span class="i0">2.  I am not going to marry Sumpun.<br /></span>
+<span class="i1">What has Sumpun done?<br /></span>
+<span class="i1">Sumpun does not support me.<br /></span>
+<span class="i1">Boddeoh Sumpun.<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5>BYANSWAHN-BYANSWAHN<br />
+<span class="poemsub">OR</span><br />
+A BOAT SONG</h5>
+
+<div class="stanza">
+<span class="i0">&#332;-&#332; Byanswahn blay Tanner tee-o-o.<br /></span>
+<span class="i0">O Byanswahn jekah jubha.<br /></span>
+<span class="i0">De jo Byanswahn se kah jujah dai.<br /></span>
+<span class="i0">&#332; Byanswahn blay dai Tanner tee-o-o.<br /></span>
+</div><div class="stanza">
+<span class="i0"><i>Translation</i><br /></span>
+</div><div class="stanza">
+<span class="i0">Oh boat, come back to me.<br /></span>
+<span class="i0">Since you carried my child away,<br /></span>
+<span class="i0">I have not seen that child.<br /></span>
+<span class="i0">Oh boat come back to me.<br /></span>
+</div></div>
+
+<p><!-- Page 220 --><span class='pagenum'><a name="Page_220" id="Page_220">[Pg 220]</a></span></p>
+
+<div class="poem">
+
+<h5>THE TURKEY BUZZARD</h5>
+
+<p>Dr. C. C. Fuller: a missionary at Chikore Melsetter, Rhodesia, Africa,
+was good enough to secure for the compiler this rhyme, written in
+Chindau, from the Rev. John E. Hatch, also a missionary in South Africa.</p>
+
+<div class="stanza">
+<span class="i0">Riti, riti, mwana wa rashika.<br /></span>
+<span class="i0">Ndizo, ndizo kurgya ku wande.<br /></span>
+<span class="i0">Riti, riti, mwana wa oneka.<br /></span>
+<span class="i0">Ndizo, ndizo ti wande issu.<br /></span>
+</div><div class="stanza">
+<span class="i0"><i>Translation</i><br /></span>
+</div><div class="stanza">
+<span class="i0">Turkey buzzard, turkey buzzard, your child is lost.<br /></span>
+<span class="i0">That is all right, the food will be more plentiful.<br /></span>
+<span class="i0">Turkey buzzard, turkey buzzard, your child is found.<br /></span>
+<span class="i0">That is all right, we will increase in number.<br /></span>
+</div></div>
+
+<p><!-- Page 221 --><span class='pagenum'><a name="Page_221" id="Page_221">[Pg 221]</a></span></p>
+
+<div class="poem">
+
+<h5>THE FROGS</h5>
+
+<p>The following child's play rhyme in Baluba with its translation was
+contributed by Mrs. L. G. Sheppard, who was for many years a missionary
+in Congo, Africa.</p>
+
+<div class="stanza">
+<span class="i0">Cula, Cula, Kuya kudi Kunyi?<br /></span>
+<span class="i0">Tuyiya ku cisila wa Baluba.<br /></span>
+<span class="i0">Tun kuata tua kuesa cinyi?<br /></span>
+<span class="i0">Tua kudimuka kua musode.<br /></span>
+</div><div class="stanza">
+<span class="i0"><i>Translation</i><br /></span>
+</div><div class="stanza">
+<span class="i0">Frogs, frogs, where are you going?<br /></span>
+<span class="i0">We are going to the market of the Baluba.<br /></span>
+<span class="i0">If they catch you, what will they do?<br /></span>
+<span class="i0">They will turn us all into lizards.<br /></span>
+</div></div>
+
+<p><!-- Page 222 --><span class='pagenum'><a name="Page_222" id="Page_222">[Pg 222]</a></span></p>
+
+<h4><span class="smcap">Jamaica Rhyme</span></h4>
+
+<div class="poem">
+
+<h5>BUSCHER GARDEN</h5>
+
+<p>This Negro rhyme from rural Jamaica was contributed by Dr. Cecil B.
+Roddock, a native of that country. The word <i>Buscher</i> means an overseer
+or master of a plantation.</p>
+
+<div class="stanza">
+<span class="i0">All a night, me da watch a brother Wayrum;<br /></span>
+<span class="i0">Wayrum ina me Buscher garden.<br /></span>
+<span class="i0">Oh, Brother Wayrum! Wha' a you da do,<br /></span>
+<span class="i0">To make a me Buscher a catch a you?<br /></span>
+<span class="i0">Oh a me Buscher, in a me Buscher garden;<br /></span>
+<span class="i0">Me a beg a me Buscher a pardon!<br /></span>
+</div></div>
+
+<p><!-- Page 223 --><span class='pagenum'><a name="Page_223" id="Page_223">[Pg 223]</a></span></p>
+
+<h4><span class="smcap">Venezuelan Negro Rhymes</span></h4>
+
+<p>These Venezuelan rhymes: "A 'Would be' Immigrant" and "Game Contestant's
+Song," came to us through the kindness of Mr. J. C. Williams, Caracas,
+Venezuela, S. A. He is a native of Venezuela.</p>
+
+<div class="poem">
+
+<h5>GAME CONTESTANT'S SONG</h5>
+
+<div class="stanza">
+<span class="i0">We're going to dig!<br /></span>
+<span class="i0">We're going to dig a sepulcher to bury those regiments.<br /></span>
+<span class="i0">White Rose Union!<br /></span>
+<span class="i0">Get yourself in readiness to bury those regiments.<br /></span>
+<span class="i0">Oh Grentville! <a name="FNanchor_54_54" id="FNanchor_54_54"></a><a href="#Footnote_54_54" class="fnanchor">[54]</a>Cici! Cici!<br /></span>
+<span class="i0">Beat them forever.<br /></span>
+</div><div class="stanza">
+<span class="i0">Sa your de vrai!<br /></span>
+<span class="i0">We'll send them a challenge,<br /></span>
+<span class="i0">To mardi carnival.<br /></span>
+<span class="i0">Sa your de vrai!!<br /></span>
+</div></div>
+
+<div class="footnotes">
+<div class="footnote"><p><a name="Footnote_54_54" id="Footnote_54_54"></a><a href="#FNanchor_54_54"><span class="label">[54]</span></a> Cici = a kind of game.</p></div>
+</div>
+
+<p><!-- Page 224 --><span class='pagenum'><a name="Page_224" id="Page_224">[Pg 224]</a></span></p>
+
+<div class="poem">
+
+<h5>A "WOULD BE" IMMIGRANT</h5>
+
+<div class="stanza">
+<span class="i0">Conjo Celestine! Oh<br /></span>
+<span class="i0">He was going to Panama.<br /></span>
+<span class="i0">Reavay Trinidad!<br /></span>
+<span class="i0">Celestine Revay, la Grenada!<br /></span>
+<span class="i0">What d'you think bring Celestine back?<br /></span>
+<span class="i0">What d'you think bring Celestine back?<br /></span>
+<span class="i0">What d'you think bring Celestine to me?<br /></span>
+<span class="i0">Twenty cents for a cup of tea.<br /></span>
+</div></div>
+
+<p><!-- Page 225 --><span class='pagenum'><a name="Page_225" id="Page_225">[Pg 225]</a></span></p>
+
+<h4><span class="smcap">Trinidad Negro Rhymes</span></h4>
+
+<p>We are very grateful to Mr. L. A. Brown for his kindness in giving to us
+the two Venezuelan rhymes which follow. His home is in Princess Town,
+Trinidad, B. W. I.</p>
+
+<div class="poem">
+
+<h5>UN BELLE MARIE COOLIE<br />
+<span class="poemsub">OR</span><br />
+BEAUTIFUL MARIE, THE EAST INDIAN</h5>
+
+<div class="stanza">
+<span class="i0">Un belle Marie Coolie!<br /></span>
+<span class="i0">Un belle Marie Coolie!<br /></span>
+<span class="i0">Un belle Marie Coolie!<br /></span>
+<span class="i0">Vous belle dame, vous belle pour moi.<br /></span>
+<span class="i0">Papa est un African.<br /></span>
+<span class="i0">Mamma est un belle Coolie.<br /></span>
+<span class="i0">Un belle Marie Coolie!<br /></span>
+<span class="i0">Vous belle dame, vous belle pour moi.<br /></span>
+</div><div class="stanza">
+<span class="i0"><i>Translation</i><br /></span>
+</div><div class="stanza">
+<span class="i0">Beautiful Marie, the East Indian!<br /></span>
+<span class="i0">Beautiful Marie, the East Indian!<!-- Page 226 --><span class='pagenum'><a name="Page_226" id="Page_226">[Pg 226]</a></span><br /></span>
+<span class="i0">Beautiful Marie, the East Indian!<br /></span>
+<span class="i0">You beautiful woman, you're good enough for me.<br /></span>
+<span class="i0">Papa is an African.<br /></span>
+<span class="i0">Mamma is a beautiful East Indian.<br /></span>
+<span class="i0">Beautiful Marie, the East Indian!<br /></span>
+<span class="i0">You beautiful woman, you're good enough for me.<br /></span>
+</div></div>
+
+<div class="poem">
+
+<h5>A TOM CAT</h5>
+
+<div class="stanza">
+<span class="i0">My father had a big Tom cat,<br /></span>
+<span class="i0">That tried to play a fiddle.<br /></span>
+<span class="i0">He struck it here, and he struck it there,<br /></span>
+<span class="i0">And he struck it in the middle.<br /></span>
+</div></div>
+
+<p><!-- Page 227 --><span class='pagenum'><a name="Page_227" id="Page_227">[Pg 227]</a></span></p>
+
+<h4><span class="smcap">Philippine Island Rhyme</span></h4>
+
+<p>The following rhyme came to me through the kindness of Mr. C. W. Ransom,
+Grand Chain, Ill., U.S.A. Mr. Ransom served three years with the United
+States Army in the Philippine Islands.</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">See that Monkey up the cocoanut tree,<br /></span>
+<span class="i0">A-jumpin' an' a-throwin' nuts at me?<br /></span>
+<span class="i0">El hombre no savoy,<br /></span>
+<span class="i0">No like such play.<br /></span>
+<span class="i0">All same to Americano,<br /></span>
+<span class="i0">No hay diqu&eacute;.<br /></span>
+</div></div>
+
+<p><!-- Page 228 --><span class='pagenum'><a name="Page_228" id="Page_228">[Pg 228]</a></span></p>
+<h2><ins class="correction" title="this heading was absent in the original">PART II</ins><br /><br />
+<span class="smcap">A Study in Negro Folk Rhymes</span></h2>
+
+<p>The lore of the American Negro is rich in story, in song, and in Folk
+rhymes. These stories and songs have been partially recorded, but so far
+as I know there is no collection of the American Negro Folk Rhymes. The
+collection in Part I is a compilation of American Negro Folk Rhymes, and
+this study primarily concerns them; but it was necessary to have a
+Foreign Section of Rhymes in order to make our study complete. I have
+therefore inserted a little Foreign Section of African, Venezuelan,
+Jamaican, Trinidad, and Philippine Negro Rhymes; and along with them
+have placed the names of the contributors to whom we are under great
+obligations, as well as to the many others who have given valuable
+assistance and suggestions in the matter of the American Negro Rhymes
+recorded.</p>
+
+<p>When critically measured by the laws and usages governing the best
+English poetry, Negro Folk Rhymes will probably remind readers of the
+story of the good brother, who arose solemnly in a Christian<!-- Page 229 --><span class='pagenum'><a name="Page_229" id="Page_229">[Pg 229]</a></span> praise
+meeting, and thanked God that he had broken all the Commandments, but
+had kept his religion.</p>
+
+<p>Though decent rhyme is often wanting, and in the case of the "Song to
+the Runaway Slave," there is no rhyme at all, the rhythm is found almost
+perfect in all of them.</p>
+
+<p>A few of the Rhymes bear the mark of a somewhat recent date in
+composition. The majority of them, however, were sung by Negro fathers
+and mothers in the dark days of American slavery to their children who
+listened with eyes as large as saucers and drank them down with mouths
+wide open. The little songs were similar in structure to the Jubilee
+Songs, also of Negro Folk origin.</p>
+
+<p>If one will but examine the recorded Jubilee songs, he will find that it
+is common for stanzas, which are apparently most distantly related in
+structure, to sing along in perfect rhythm in the same tune that
+carefully counts from measure to measure one, two; or one, two, three,
+four. Here is an example of two stanzas taken from the Jubilee song,
+"Wasn't That a Wide River?"</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">1. "Old Satan's just like a snake in the grass,<br /></span>
+<span class="i1">He's a-watching for to bite you as you pass.<br /></span>
+</div><div class="stanza">
+<span class="i0">2.  Shout! Shout! Satan's about.<br /></span>
+<span class="i1">Just shut your door, and keep him out."<br /></span>
+</div></div>
+
+<p><!-- Page 230 --><span class='pagenum'><a name="Page_230" id="Page_230">[Pg 230]</a></span></p><p>An examination of stanzas in various Jubilee songs will show in the
+same song large variations in poetic feet, etc., not only from stanza to
+stanza; but very often from line to line, and even from phrase to
+phrase. Notwithstanding all this variation, a well trained band of
+singers will render the songs with such perfect rhythm that one scarcely
+realizes that the structure of any one stanza differs materially from
+that of another.</p>
+
+<p>A stanza, as it appears in Negro Folk Rhymes, is of the same
+construction as that found in the Jubilee Songs. A perfect rhythm is
+there. If while reading them you miss it, read yet once again; you will
+find it in due season if you "faint not" too early.</p>
+
+<p>As a rule, Negro Folk verse is so written that it fits into measures of
+music written 4/4 or 2/4 time. You can therefore read Negro Folk Rhymes
+silently counting: one, two; or, one, two, three, four; and the stanzas
+fit directly into the imaginary music measures if you are reading in
+harmony with the intended rhythm. I know of only three Jubilee Songs
+whose stanzas are transcribed as exceptions. They are&mdash;</p>
+
+<p>(1) "I'm Going to Live with Jesus," 6/8 time, (2) "Gabriel's Trumpet's
+Going to Blow," 3/4 time, and (3) "Lord Make Me More Patient," 6/8
+time.<!-- Page 231 --><span class='pagenum'><a name="Page_231" id="Page_231">[Pg 231]</a></span> It is interesting to note along with these that the "Song of the
+Great Owl," the "Negro Soldier's Civil War Chant," and "Destitute Former
+Slave Owners," are seemingly the only ones in our Folk Rhyme collection
+which would call for a 3/4 or 6/8 measure. Such a measure is rare in all
+literary Negro Folk productions.</p>
+
+<p>The Negro, then, repeated or sang his Folk Rhymes, and danced them to
+4/4 and 2/4 measures. Thus Negro Folk Rhymes, with very few exceptions,
+are poetry where a music measure is the unit of measurement for the
+words rather than the poetic foot. This is true whether the Rhyme is, or
+is not, sung. <i>Imaginary measures either of two or four beats, with a
+given number of words to a beat, a number that can be varied limitedly
+at will, seems to be the philosophy underlying all Negro slave rhyme
+construction.</i></p>
+
+<p>As has just been casually mentioned, the Negro Folk Rhyme was used for
+the dance. There are Negro Folk Rhyme Dance Songs and Negro Folk Dance
+Rhymes. An example of the former is found in "The Banjo Picking," and of
+the latter, "Juba," both found in this collection. The reader may wonder
+how a Rhyme simply repeated was used in the dance. The procedure was as
+follows: Usually<!-- Page 232 --><span class='pagenum'><a name="Page_232" id="Page_232">[Pg 232]</a></span> one or two individuals "star" danced at time. The
+others of the crowd (which was usually large) formed a circle about this
+one or two who were to take their prominent turn at dancing. I use the
+terms "star" danced and "prominent turn" because in the latter part of
+our study we shall find that all those present engaged sometimes at
+intervals in the dance. But those forming the circle, for most of the
+time, repeated the Rhyme, clapping their hands together, and patting
+their feet in rhythmic time with the words of the Rhyme being repeated.
+It was the task of the dancers in the middle of the circle to execute
+some graceful dance in such a manner that their feet would beat a tattoo
+upon the ground answering to every word, and sometimes to every syllable
+of the Rhyme being repeated by those in the circle. There were many such
+Rhymes. "'Possum Up the Gum Stump," and "Jawbone" are good examples. The
+stanzas to these Rhymes were not usually limited to two or three, as is
+generally the case with those recorded in our collection. Each selection
+usually had many stanzas. Thus as there came variation in the words from
+stanza to stanza, the skill of the dancers was taxed to its utmost, in
+order to keep up the graceful dance and to beat a changed tattoo upon
+the ground corresponding to the<!-- Page 233 --><span class='pagenum'><a name="Page_233" id="Page_233">[Pg 233]</a></span> changed words. If any find fault with
+the limited number of stanzas recorded in our treatise, I can in apology
+only sing the words of a certain little encore song each of whose two
+little stanzas ends with the words, "Please don't call us back, because
+we don't know any more."</p>
+
+<p>There is a variety of Dance Rhyme to which it is fitting to call
+attention. This variety is illustrated in our collection by "Jump Jim
+Crow," and "Juba." In such dances as these, the dancers were required to
+give such movements of body as would act the sentiment expressed by the
+words while keeping up the common requirements of beating these same
+words in a tattoo upon the ground with the feet and executing
+simultaneously a graceful dance.</p>
+
+<p>It is of interest also to note that the antebellum Negro while repeating
+his Rhymes which had no connection with the dance usually accompanied
+the repeating with the patting of his foot upon the ground. Among other
+things he was counting off the invisible measures and bars of his
+Rhymes, things largely unseen by the world but very real to him. Every
+one who has listened to a well sung Negro Jubilee Song knows that it is
+almost impossible to hear one sung and not pat the foot. I have seen the
+feet of the coldest blooded Caucasians<!-- Page 234 --><span class='pagenum'><a name="Page_234" id="Page_234">[Pg 234]</a></span> pat right along while Jubilee
+melodies were being sung.</p>
+
+<p>All Negro Folk productions, including the Negro Folk Rhymes, seem to
+call for this patting of the foot. The explanation which follows is
+offered for consideration. The orchestras of the Native African were
+made up largely of crudely constructed drums of one sort or another.
+Their war songs and so forth were sung to the accompaniment of these
+drum orchestras. When the Negroes were transported to America, and began
+to sing songs and to chant words in another tongue, they still sang
+strains calling, through inheritance, for the accompaniment of their
+ancestral drum. The Negro's drum having fallen from him as he entered
+civilization, he unwittingly called into service his foot to take its
+place. This substitution finds a parallelism in the highly cultivated La
+France rose, which being without stamens and pistils must be propagated
+by cuttings or graftings instead of by seeds. The rose, purposeless,
+emits its sweet perfume to the breezes and thus it attracts insects for
+cross fertilization simply because its staminate and pistillate
+ancestors thus called the insect world for that purpose. The rattle of
+the crude drum of the Native African was loud by inheritance in the
+hearts of his early American de<!-- Page 235 --><span class='pagenum'><a name="Page_235" id="Page_235">[Pg 235]</a></span>scendants and its unseen ghost walks in
+the midst of all their poetry.</p>
+
+<p>Many Negro Folk Rhymes were used as banjo and fiddle (violin) songs. It
+ought to be borne in mind, however, that even these were quite often
+repeated without singing or playing. It was common in the early days of
+the public schools of the South to hear Negro children use them as
+declamations. The connection, however, of Negro Folk Rhymes with their
+secular music productions is well worthy of notice.</p>
+
+<p>I have often heard those who liked to think and discuss things musical,
+wonder why little or no music of a secular kind worth while seemed to be
+found among Negroes while their religious music, the Jubilee Songs, have
+challenged the admiration of the world. The songs of most native peoples
+seem to strike "high water mark" in the secular form. Probably numbers
+of us have heard the explanation: "You see, the Negro is deeply
+emotional; religion appealed to him as did nothing else. The Negro
+therefore spent his time singing and shouting praises to God, who alone
+could whisper in his heart and stir up these emotions." There is perhaps
+much truth in this explanation. It is also such a delicate and high
+compliment to the Negro race,<!-- Page 236 --><span class='pagenum'><a name="Page_236" id="Page_236">[Pg 236]</a></span> that I hesitate to touch it. One of the
+very few gratifying things that has come to Negroes is the unreserved
+recognition of their highly religious character. There is a truth,
+however, about the relation between the Negro Folk Rhyme and the Negro's
+banjo and fiddle music which ought to be told even though some older,
+nicer viewpoints might be a little shifted.</p>
+
+<p>There were quite a few Rhymes sung where the banjo and fiddle formed
+what is termed in music a simple accompaniment. Examples of these are
+found in "Run, Nigger, Run," and "I'll Wear Me a Cotton Dress." In such
+cases the music consisted of simple short tunes unquestionably "born to
+die."</p>
+
+<p>There was another class of Rhymes like "Devilish Pigs," that were used
+with the banjo and fiddle in quite another way. It was the banjo and
+fiddle productions of this kind of Rhyme that made the "old time" Negro
+banjo picker and fiddler famous. It has caused quite a few, who heard
+them, to declare that, saint or sinner, it was impossible to keep your
+feet still while they played. The compositions were comparatively long.
+From one to four lines of a Negro Folk Rhyme were sung to the opening
+measures of the instrumental composition; then followed the larger and
+remaining part of the composition,<!-- Page 237 --><span class='pagenum'><a name="Page_237" id="Page_237">[Pg 237]</a></span> instruments alone. In the Rhyme
+"Devilish Pigs" four lines were used at a time. Each time that the music
+theme of the composition was repeated, another set of Rhyme lines was
+repeated; and the variations in the music theme were played in each
+repeat which recalled the newly repeated words of the Rhyme. The ideal
+in composition from an instrumental viewpoint might quite well remind
+one of the ideal in piano compositions, which consists of a theme with
+variations. The first movement of Beethoven's Sonata, Opus 26,
+illustrates the music ideal in composition to which I refer.</p>
+
+<p>So far as I know no Caucasian instrumental music composer has ever
+ordered the performers under his direction to sing a few of the first
+measures of his composition while the string division of the orchestra
+played its opening chords. Only the ignorant Negro composer has done
+this. Some white composers have made little approaches to it. A fair
+sample of an approach is found in the Idylls of Edward McDowell, for
+piano, where every exquisite little tone picture is headed by some gem
+in verse, reading which the less musically gifted may gain a deeper
+insight into the philosophical tone discourse set forth in the notes and
+chords of the composition.</p>
+
+<p>The Negro Folk Rhyme, then, furnished the ideas<!-- Page 238 --><span class='pagenum'><a name="Page_238" id="Page_238">[Pg 238]</a></span> about which the "old
+time" Negro banjo picker and fiddler clustered his best instrumental
+music thoughts. It is too bad that this music passed away unrecorded
+save by the hearts of men. Paul Laurence Dunbar depicts its telling
+effects upon the hearer in his poem "The Party":</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Cripple Joe, de ole rheumatic, danced dat flo' frum side to middle.<br /></span>
+<span class="i0">Throwed away his crutch an' hopped it, what's rheumatics 'gainst a fiddle?<br /></span>
+<span class="i0">Eldah Thompson got so tickled dat he lak to los' his grace,<br /></span>
+<span class="i0">Had to take bofe feet an' hold 'em, so's to keep 'em in deir place.<br /></span>
+<span class="i0">An' de Christuns an' de sinnahs got so mixed up on dat flo',<br /></span>
+<span class="i0">Dat I don't see how dey's pahted ef de trump had chonced to blow."<br /></span>
+</div></div>
+
+<p>Perhaps a new school of orchestral music might be built on the Negro
+idea that some of the performers sing a sentence or so here and there,
+both to assist the hearers to a clearer musical understanding and to
+heighten the general artistic finish. The old Negro performers generally
+sang lines of the Folk Rhymes at the opening but occasionally in the<!-- Page 239 --><span class='pagenum'><a name="Page_239" id="Page_239">[Pg 239]</a></span>
+midst of their instrumental compositions. I do not recall any case where
+lines were sung to the closing measures of the compositions.</p>
+
+<p>It might seem odd to some that the grotesque Folk Rhyme should have
+given rise to comparatively long instrumental music compositions. I
+think the explanation is probably very simple. The African on his native
+heath had his crude ancestral drum as his leading musical instrument. He
+sang or shouted his war songs consisting of a few words, and of a few
+notes, then followed them up with the beating of his drum, perhaps for
+many minutes, or even for hours. In civilization, the banjo, fiddle,
+"quills," and "triangle" largely took the place of his drum. Thus the
+singing of opening strains and following them with the main body of the
+instrumental composition, is in keeping with the Negro's inherited law
+for instrumental compositions from his days of savagery. The rattling,
+distinct tones of the banjo, recalling unconsciously his inherited love
+for the rattle of the African ancestral drum, is probably the thing
+which caused that instrument to become a favorite among Negro slaves.</p>
+
+<p>I would next consider the relation of the Folk Rhymes to Negro child
+life. They were instilled into children as warnings. In the years
+closely following<!-- Page 240 --><span class='pagenum'><a name="Page_240" id="Page_240">[Pg 240]</a></span> our Civil War, it was common for a young Negro child,
+about to engage in a doubtful venture, to hear his mother call out to
+him the Negro Rhyme recorded by Joel Chandler Harris, in the Negro
+story, "The End of Mr. Bear":</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Tree stan' high, but honey mighty sweet&mdash;<br /></span>
+<span class="i0">Watch dem bees wid stingers on der feet."<br /></span>
+</div></div>
+
+<p>These lines commonly served to recall the whole story, it being the
+Rabbit's song in that story, and the child stopped whatever he was
+doing. Other and better examples of such Rhymes are "Young Master and
+Old Master," "The Alabama Way," and "You Had Better Mind Master," found
+in our collection.</p>
+
+<p>The warnings were commonly such as would help the slave to escape more
+successfully the lash, and to live more comfortably under slave
+conditions. I would not for once intimate that I entertain the thought
+that the ignorant slave carefully and philosophically studied his
+surroundings, reasoned it to be a fine method to warn children through
+poetry, composed verse, and like a wise man proceeded to use it. Of
+course thinking preceded the making of the Rhyme, but a conscious system
+of making verses<!-- Page 241 --><span class='pagenum'><a name="Page_241" id="Page_241">[Pg 241]</a></span> for the purpose did not exist. I have often watched
+with interest a chicken hen lead forth her brood of young for the first
+time. While the scratching and feeding are going on, all of a sudden the
+hen utters a loud shriek, and flaps her wings. The little chicks,
+although they have never seen a hawk, scurry hither and thither, and so
+prostrate their little brown and ashen bodies upon the ground as almost
+to conceal themselves. The Negro Folk Rhymes of warning must be looked
+upon a little in this same light. They are but the strains of terror
+given by the promptings of a mother instinct full enough of love to give
+up life itself for its defenseless own.</p>
+
+<p>Many Rhymes were used to convey to children the common sense truths of
+life, hidden beneath their comic, crudely cut coats. Good examples are
+"Old Man Know-All," "Learn to Count," and "Shake the Persimmons Down."
+All through the Rhymes will be found here and there many stanzas full of
+common uncommon sense, worthwhile for children.</p>
+
+<p>Many Negro Folk Rhymes repeated or sung to children on their parents'
+knees were enlarged and told to them as stories, when they became older.
+The Rhyme in our collection on "Judge Buzzard" is one of this kind. In
+the Negro version of the<!-- Page 242 --><span class='pagenum'><a name="Page_242" id="Page_242">[Pg 242]</a></span> race between the hare and the tortoise
+("rabbit and terrapin"), the tortoise wins not through the hare's going
+to sleep, but through a gross deception of all concerned, including even
+the buzzard who acted as Judge. The Rhyme is a laugh on "Jedge Buzzard."
+It was commonly repeated to Negro children in olden days when they
+passed erroneous judgments. "Buckeyed rabbit! Whoopee!" in our volume
+belongs with the Negro story recorded by Joel Chandler Harris under the
+title, "How Mr. Rabbit Lost His Fine Bushy Tail," though for some reason
+Mr. Harris failed to weave it into the story as was the Negro custom.
+"The Turtle's Song," in our collection, is another, which belongs with
+the story, "Mr. Terrapin Shows His Strength"; a Negro story given to the
+world by the same author, though the Rhyme was not recorded by him. It
+might be of interest to know that the Negroes, when themselves telling
+the Folk stories, usually sang the Folk Rhyme portions to little
+"catchy" Negro tunes. I would not under any circumstances intimate that
+Mr. Harris carelessly left them out. He recorded many little stanzas in
+the midst of the stories. Examples are:</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">(a) &nbsp;"We'll stay at home when you're away<br /></span>
+<span class="i2">'Cause no gold won't pay toll."<br /></span>
+</div><div class="stanza">
+<!-- Page 243 --><span class='pagenum'><a name="Page_243" id="Page_243">[Pg 243]</a></span>
+
+<span class="i0">(b)&nbsp; "Big bird catch, little bird sing.<br /></span>
+<span class="i2">Bug bee zoom, little bee sting.<br /></span>
+<span class="i2">Little man lead, and the big horse follow,<br /></span>
+<span class="i2">Can you tell what's good for a head in a hollow?"<br /></span>
+</div></div>
+
+<p>These and many others are fragmentarily recorded among Mr. Harris' Negro
+stories in "Nights With Uncle Remus."</p>
+
+<p>Folk Rhymes also formed in many cases the words of Negro Play Songs.
+"Susie Girl," and "Peep Squirrel," found in our collection, are good
+illustrations of the Rhymes used in this way. The words and the music of
+such Rhymes were usually of poor quality. When, however, they were sung
+by children with the proper accompanying body movements, they might
+quite well remind one of the "Folk Dances" used in the present best
+up-to-date Primary Schools. They were the little rays of sunshine in the
+dark dreary monotonous lives of black slave children.</p>
+
+<p>Possibly the thing which will impress the reader most in reading Negro
+Folk Rhymes is their good-natured drollery and sparkling nonsense. I
+believe this is very important. Many have recounted in our hearing, the
+descriptions of "backwoods" Negro<!-- Page 244 --><span class='pagenum'><a name="Page_244" id="Page_244">[Pg 244]</a></span> picnics. I have witnessed some of
+them where the good-natured vender of lemonade and cakes cried out:</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Here's y&#333;' c&#333;l' ice lemonade,<br /></span>
+<span class="i0">It's made in de shade,<br /></span>
+<span class="i0">It's stirred wid a spade.<br /></span>
+<span class="i0">Come buy my c&#333;l' ice lemonade.<br /></span>
+<span class="i0">It's made in de shade<br /></span>
+<span class="i0">An' s&#333;l' in de sun.<br /></span>
+<span class="i0">Ef you hain't got no money,<br /></span>
+<span class="i0">You cain't git none.<br /></span>
+<span class="i0">One glass fer a nickel,<br /></span>
+<span class="i0">An' two fer a dime,<br /></span>
+<span class="i0">Ef you hain't got de chink,<br /></span>
+<span class="i0">You cain't git mine.<br /></span>
+<span class="i0">Come right dis way,<br /></span>
+<span class="i0">Fer it sh&#333;' will pay<br /></span>
+<span class="i0">To git candy fer de ladies<br /></span>
+<span class="i0">An' cakes fer de babies."<br /></span>
+</div></div>
+
+<p>"Did these venders sell?" Well, all agree that they did. The same
+principle applied, with much of the nonsense eliminated, will probably
+make of the Negro a great merchant, as caste gives way enough to allow
+him a common man's business chance. Of all the races of men, the Negro
+alone has demonstrated<!-- Page 245 --><span class='pagenum'><a name="Page_245" id="Page_245">[Pg 245]</a></span> his ability to come into contact with the white
+man and neither move on nor be annihilated. I believe this is largely
+due to his power to muster wit and humor on all occasions, and even to
+laugh in the face of adversity. He refused during the days of slavery to
+take the advice of Job's wife, and to "Curse God and die." He repeated
+and sang his comic Folk Rhymes, danced, lived, and came out of the Night
+of Bondage comparatively strong.</p>
+
+<p>The compiler of the Rhymes was quite interested to find that as a rule
+the country-reared Negro had a larger acquaintance with Folk Rhymes than
+one brought up in the city. The human mind craves occasional recreation,
+entertainment, and amusement. In cities where there is an almost
+continuous passing along the crowded thoroughfares of much that
+contributes to these ends, the slave Negro needed only to keep his eyes
+open, his ears attentive, and laugh. He directed his life accordingly.
+But, in the country districts there was only the monotony of quiet woods
+and waving fields of cotton. The rural scenes, though beautiful in
+themselves, refuse to amuse or entertain those who will not hold
+communion with them. The country Negro longing for amusement communed in
+his crude way, and Nature gave him Folk Rhymes for entertainment. Among<!-- Page 246 --><span class='pagenum'><a name="Page_246" id="Page_246">[Pg 246]</a></span>
+those found to be clearly of this kind may be mentioned "The Great Owl's
+Song," "Tails," "Redhead Woodpecker," "The Snail's Reply," "Bob-white's
+Song," "Chuck Will's Widow Song," and many others.</p>
+
+<p>The Folk Rhymes were not often repeated as such or as whole compositions
+by the "grown-ups" among Negroes apart from the Play and the Dance. If,
+however, you had had an argument with an antebellum Negro, had gotten
+the better of the argument, and he still felt confident that he was
+right, you probably would have heard him close his side of the debate
+with the words: "Well, 'Ole Man Know-All is Dead.'" This is only a short
+prosaic version of his rhyme "Old Man Know-All," found in our
+collection. Many of the characteristic sayings of "Uncle Remus" woven
+into story by Joel Chandler Harris had their origin in these Folk
+Rhymes. "Dem dat know too much sleep under de ash-hopper" (Uncle Remus)
+clearly intimates to all who know about the old-fashioned ash-hopper
+that such an individual lies. This saying is a part of another stanza of
+"Old Man Know-All," but I cannot recall it from my dim memory of the
+past, and others whom I have asked seem equally unable to do so, though
+they have once known it.</p>
+
+<p>As is the case with all things of Folk origin,<!-- Page 247 --><span class='pagenum'><a name="Page_247" id="Page_247">[Pg 247]</a></span> there is usually more
+than one version of each Negro Folk Rhyme. In many cases the exercising
+of a choice between many versions was difficult. I can only express the
+hope that my choices have been wise.</p>
+
+<p>There are two American Negro Folk Rhymes in our collection: "Frog in a
+Mill" and "Tree Frogs," which are oddities in "language." They are
+rhymes of a rare type of Negro, which has long since disappeared. They
+were called "Ebo" Negroes and "Guinea" Negroes. The so-called "Ebo"
+Negro used the word "la" very largely for the word "the." This and some
+other things have caused me to think that the "Ebo" Negro was probably
+one who was first a slave among the French, Spanish, or Portuguese, and
+was afterwards sold to an English-speaking owner. Thus his language was
+a mixture of African, English, and one of these languages. The so-called
+"Guinea" Negro was simply one who had not been long from Africa; his
+language being a mixture of his African tongue and English. These rhymes
+are to the ordinary Negro rhymes what "Jutta Cord la" in "Nights with
+Uncle Remus," by Joel Chandler Harris, is to the ordinary Negro stories
+found there. They are probably representative, in language, of the most
+primitive Negro Folk productions.</p>
+
+<p>Some of the rhymes are very old indeed. If one<!-- Page 248 --><span class='pagenum'><a name="Page_248" id="Page_248">[Pg 248]</a></span> will but read "Master Is
+Six Feet One Way," found in our collection, he will find in it a
+description of a slave owner attired in Colonial garb. It clearly
+belongs, as to date of composition, either to Colonial days, or to the
+very earliest years of the American Republic. When we consider it as a
+slave rhyme, it is far from crudest, notwithstanding the early period of
+its production.</p>
+
+<p>If one carefully studies our collection of rhymes, he will probably get
+a new and interesting picture of the Negro's mental attitude and
+reactions during the days of his enslavement. One of these mental
+reactions is calculated to give one a surprise. One would naturally
+expect the Negro under hard, trying, bitter slave conditions, to long to
+be white. There is a remarkable Negro Folk rhyme which shows that this
+was not the case. This rhyme is: "I'd Rather Be a Negro Than a Poor
+White Man." We must bear in mind that a Folk Rhyme from its very nature
+carries in it the crystallized thought of the masses. This rhyme, though
+a little acidic and though we have recorded the milder version, leaves
+the unquestioned conclusion that, though the Negro masses may have
+wished for the exalted station of the rich Southern white man and
+possibly would have willingly had a white color as a passport to
+position, there never<!-- Page 249 --><span class='pagenum'><a name="Page_249" id="Page_249">[Pg 249]</a></span> was a time when the Negro masses desired to be
+white for the sake of being white. Of course there is the Negro rhyme,
+"I Wouldn't Marry a Black Girl," but along with it is another Negro
+rhyme, "I Wouldn't Marry a White or a Yellow Negro Girl." The two rhymes
+simply point out together a division of Negro opinion as to the ideal
+standard of beauty in personal complexion. One part of the Negroes
+thought white or yellow the more beautiful standard and the other part
+of the Negroes thought black the more beautiful standard.</p>
+
+<p>The body of the Rhymes, here and there, carries many facts between the
+lines, well worth knowing.</p>
+
+<p>This collection also will shed some light on how the Negro managed to go
+through so many generations "in slavery and still come out" with a
+bright, capable mind. There were no colleges or schools for them, but
+there were Folk Rhymes, stories, Jubilee songs, and Nature; they used
+these and kept mentally fit.</p>
+
+<p>I now approach the more difficult and probably the most important
+portion of my discussion in the Study of Negro Folk Rhymes. It is a
+discussion that I would have willingly omitted, had I not thought that
+some one owed it to the world. Seeing a debt, as I thought, and not
+seeing another to pay<!-- Page 250 --><span class='pagenum'><a name="Page_250" id="Page_250">[Pg 250]</a></span> it, I have reluctantly undertaken to discharge
+the obligation.</p>
+
+<p>If I were so fortunate as to possess a large flower garden with many new
+and rare genera and species, and wished to acquaint my friends with
+them, I should first take these friends for a walk through the garden,
+that they might see the odd tints and hues, might inhale a little of the
+new fragrance, and might get some idea as to the prospects for the
+utilization of these new plants in the world. Then, taking these friends
+back to my study room, I should consider in a friendly manner along with
+them, the Families and the Species, and the varieties. Finally, I should
+endeavor to lay before them from whence these new and strange flowers
+came. I have endeavored to pursue this method in my discussion of the
+Negro Folk Rhymes. In the foregoing I have endeavored to take the
+friendly reader for a walk through this new and strange garden of
+Rhymes, and I now extend an invitation to him to come into the Study
+Room for a more critical view of them.</p>
+
+<p>When one enters upon the slightest contemplation of Negro Folk Rhyme
+classification, and is kind-hearted enough to dignify them with a claim
+to kinship to real poetry, the word <i>Ballad</i> rolls out without the
+slightest effort, as a term that takes them all<!-- Page 251 --><span class='pagenum'><a name="Page_251" id="Page_251">[Pg 251]</a></span> in. Yes, this is very
+true, but they are of a strange type indeed. They are Nature Ballads,
+many of them, in the sense as ordinarily used. In quite another sense,
+however, from that in which Nature Ballad is ordinarily used, about all
+Folk Rhymes are Nature Ballads.</p>
+
+<p>I do not have reference to the thought content, but have reference to
+what I term Nature Ballads in form. Permit me to explain by analogy just
+what I would convey by the term Nature Ballad in form.</p>
+
+<p>All Nature is one. Though we arbitrarily divide Nature's objects for
+study, they are indissolubly bound together and every part carries in
+some part of its constitution some well defined marks which characterize
+the other parts with which it has no immediate connection. To
+illustrate: the absolutely pure sapphire, pure aluminic oxide,
+crystallized, is commonly colorless, but we know that Nature's most
+beautiful sapphires are not colorless, but are blue, and of other
+beautiful tints. These color tints are due to minutest traces of other
+substances, not at all of general common sapphire composition. We call
+them all sapphires, however, regardless of their little impurities which
+are present to enhance their charm and beauty. Likewise, all animal life
+begins with one cell, and though the one cell in one case develops<!-- Page 252 --><span class='pagenum'><a name="Page_252" id="Page_252">[Pg 252]</a></span> into
+a vertebrate, and in another case into an invertebrate the cells persist
+and so all animal life has cellular structure in common. Yet, each
+animal branch has predominant traits that distinguish it from all other
+branches. This same thing is true of plants.</p>
+
+<p>Nature's method, then, of making things seems to be to put in a large
+enough amount of one thing to brand the article, and then to mix in, in
+small amounts, enough of other things to lend charm and beauty without
+taking the article out of its general class.</p>
+
+<p>This is that which goes to make Negro Folk Rhymes Nature Ballads in
+form. They are ballads, but all in the midst of even a Dance Song, by
+Nature an ordinary ballad, there may be interwoven comedy, tragedy, and
+nearly every kind of imaginable thing which goes rather with other
+general forms of poetry than with the ballad. As an example, in the
+Dance Song, "Promises of Freedom," we have mustered before our eyes the
+comic drawing of a deceptive ugly old Mistress and then follows the
+intimation of the tragic death of a poisoned slave owner, and as we are
+tempted to dance along in thought with the rhymer, we cannot escape
+getting the subtle impression that this slave had at least some "vague"<!-- Page 253 --><span class='pagenum'><a name="Page_253" id="Page_253">[Pg 253]</a></span>
+personal knowledge of how the Master got that poison. It is a common
+easy-going ballad, but it is tinted with tragedy and comedy. This
+general principle will be found to run very largely through the highest
+types of Negro Folk Rhymes. It is the Nature method of construction, and
+thus we call them Nature Ballads in structure, or form.</p>
+
+<p>Other good examples of rhymes, Nature Ballads in structure, are "Frog
+Went a-Courting," "Sheep Shell Corn," "Jack and Dinah Want Freedom."</p>
+
+<p>I now direct attention further to the classification of Negro Rhymes as
+Ballads. My earnest desire was to classify Negro Rhymes under ordinary
+headings such as are used by literary men and women everywhere in their
+general classification of Ballads. I considered this very important
+because it would enable students of comparative Literature to compare
+easily the Negro Folk Rhymes with the Folk Rhymes of all peoples. I was
+much disappointed when I found that the Negro Folk Rhymes, when invited,
+refused to take their places whole-heartedly in the ordinary
+classification. As an example of many may be mentioned the little Rhyme
+"Jaybird." It is a Dance Song, and thus comes under the Dance Song
+Division, commonly used for Ballads. But, it also belongs under Nature
+Lore heading, because<!-- Page 254 --><span class='pagenum'><a name="Page_254" id="Page_254">[Pg 254]</a></span> the Negroes many years ago often told a story, in
+conjunction with song, of the great misfortunes which overtook a Negro
+who tried to get his living by hunting Jaybirds. Finally it also belongs
+under the heading Superstitions, for its last stanza very plainly
+alludes to the old Negro superstition of slavery days which declared
+that it was almost impossible to find Jaybirds on Friday because they
+went to Hades on that day to carry sand to the Devil.</p>
+
+<p>But so important do I think of comparative study that I have taken the
+ordinary headings used for Ballads and, after adding that omnibus
+heading "Miscellaneous," have done my best. The majority of the Rhymes
+can be placed under headings ordinarily used. This was to be expected.
+It is in obedience to Natural Law. We see it in the Music World. The
+Caucasian music has eight fundamental tones, the Japanese music has
+five, while, according to some authorities, Negro Jubilee-music has
+nine; yet all these music scales have five tones in common. In the
+Periodic System of Elements there are two periods; a short period and a
+long period, but both periods embrace, in common, elements belonging to
+the same family. So with the Ballads, certain classification headings
+will very well take in both the Negro and all others. The Negro<!-- Page 255 --><span class='pagenum'><a name="Page_255" id="Page_255">[Pg 255]</a></span> Ballad,
+however, does not entirely properly fit in. I have therefore resorted to
+the following expedient: I have taken the headings ordinarily used, and
+have listed under each heading the Negro Rhymes which belong with it, as
+nearly as possible. I have placed this classified list at the end of the
+book, under the title "Comparative Study Index." By using this Index one
+can locate and compare Negro Folk productions with the corresponding
+Folk productions of other peoples.</p>
+
+<p>The headings found in this Comparative Study Index are as follows:</p>
+
+<ol>
+<li>Love Songs.</li>
+<li>Dance Songs.</li>
+<li>Animal and Nature Lore.</li>
+<li>Nursery Rhymes.</li>
+<li>Charms and Superstitions.</li>
+<li>Hunting Songs.</li>
+<li>Drinking Songs.</li>
+<li>Wise and Gnomic Sayings.</li>
+<li>Harvest Songs.</li>
+<li>Biblical and Religious Themes.</li>
+<li>Play Songs.</li>
+<li>Miscellaneous.</li>
+</ol>
+
+<p>With the way paved for others to make such comparative study as they
+would like, I now feel free<!-- Page 256 --><span class='pagenum'><a name="Page_256" id="Page_256">[Pg 256]</a></span> to use a classification which lends itself
+more easily to a discussion of the origin and evolution of Negro Rhyme.
+The basic principle used in this classification is Origin and under each
+source of origin is placed the various classes of Rhymes produced. It
+has seemed to the writer, who is himself a Negro, and has spent his
+early years in the midst of the Rhymes and witnessed their making, that
+there are three great divisions derived from three great mainsprings or
+sources.</p>
+
+<p>The Divisions are as follows:</p>
+
+<ol class="roman">
+<li>Rhymes derived from the Social Instinct.</li>
+<li>Rhymes derived from the Homing Instinct.</li>
+<li>Rhymes of Psycho-composite origin.</li>
+</ol>
+
+<p>The terms Social and Homing Instincts are familiar to every one, but the
+term Psycho-composite was coined by the writer after much hesitation and
+with much regret because he seemed unable to find a word which would
+express what he had in mind.</p>
+
+<p>To make clear: the classes of Rhymes falling under Divisions I and II
+owe their crudest initial beginnings to instinct, while those under
+Division III owe their crudest beginnings partly to instinct, but partly
+also to intelligent thinking processes. To illustrate&mdash;Courtship Rhymes
+come under Division II, because courtship primarily arises from the
+homing<!-- Page 257 --><span class='pagenum'><a name="Page_257" id="Page_257">[Pg 257]</a></span> instinct, but when we come to "quasi" wise sayings&mdash;directed
+largely to criticism or toward improvement, there is very much more than
+instinct concerned. In Division III the Rhymes are directed largely to
+improvement. In explanation of why they are in Division III, I would
+say, the desire to better one's condition is instinctive, but the
+slightest attainment of the desire comes through thought pure and
+simple. I have invented the term Psycho-composite to include all this.</p>
+
+<p>In reading the Rhymes under Division III, one finds comparatively large,
+abstract, general conclusions, such as&mdash;General loquaciousness is
+unwise: Assuming to know everything is foolish: Self-control is a great
+virtue. Proper preparation must be made before presuming to give
+instruction, etc. Such generalizations involve something not necessarily
+present in the crudest initiations of such Rhymes as those found under
+Divisions I and II. Below is a tabular view of my proposed
+classification of Negro Folk Rhymes:</p>
+
+<table border="0" summary="Classification of Negro Folk Rhymes">
+
+<tr class="smcap" align="center">
+   <th>Division</th>
+   <td>&nbsp;</td>
+   <td>&nbsp;</td>
+   <th>Class</th>
+</tr>
+
+<tr>
+<td rowspan="4" class="center">I. Social Instinct<br /> Rhymes</td>
+<td rowspan="2" class="b-rb">&nbsp;&nbsp;</td>
+<td rowspan="2" class="b-lt">&nbsp;&nbsp;</td>
+<td>1. Dance Rhymes</td>
+</tr>
+
+<tr>
+<td>2. Dance Rhyme Songs</td>
+</tr>
+
+<tr>
+<td rowspan="2" class="b-rt">&nbsp;&nbsp;</td>
+<td rowspan="2" class="b-lb">&nbsp;&nbsp;</td>
+<td>3. Play Songs</td>
+</tr>
+
+<tr>
+<td>4. Pastime Rhymes</td>
+<td><!-- Page 258 --><span class='pagenum'><a name="Page_258" id="Page_258">[Pg&nbsp;258]</a></span></td>
+</tr>
+
+<tr><td>&nbsp;&nbsp;</td>
+<td>&nbsp;&nbsp;</td>
+<td>&nbsp;&nbsp;</td>
+<td>&nbsp;&nbsp;</td>
+</tr>
+
+<tr>
+  <td rowspan="4" class="center">II. Homing Instinct <br />Rhymes</td>
+  <td rowspan="2" class="b-rb">&nbsp;&nbsp;</td>
+  <td rowspan="2" class="b-lt">&nbsp;&nbsp;</td>
+  <td>1. Love Rhymes</td>
+</tr>
+
+<tr>
+  <td>2. Courtship Rhymes</td>
+</tr>
+
+<tr>
+  <td rowspan="2" class="b-rt">&nbsp;&nbsp;</td>
+  <td rowspan="2" class="b-lb">&nbsp;&nbsp;</td>
+  <td>3. Marriage Rhymes</td>
+</tr>
+
+<tr>
+  <td>4. Married Life Rhymes</td>
+</tr>
+
+<tr>
+  <td>&nbsp;&nbsp;</td>
+  <td>&nbsp;&nbsp;</td>
+  <td>&nbsp;&nbsp;</td>
+  <td>&nbsp;&nbsp;</td>
+</tr>
+
+<tr>
+  <td rowspan="2" class="center">III. Psycho-composite <br />Rhymes</td>
+  <td rowspan="1" class="b-rb">&nbsp;&nbsp;</td>
+  <td rowspan="1" class="b-lt">&nbsp;&nbsp;</td>
+  <td rowspan="2">1. Criticism and Improvement Rhymes</td>
+</tr>
+
+<tr>
+  <td rowspan="1" class="b-rt">&nbsp;&nbsp;</td>
+  <td rowspan="1" class="b-lb">&nbsp;&nbsp;</td>
+</tr>
+</table>
+
+<p>Under this tabulation, let us now proceed to discuss the Origin and
+Evolution of Negro Folk Rhymes.</p>
+
+<p>Early in my discussion the reader will recall that I explained in
+considerable detail how the Dance Rhyme words were used in the dance. I
+am now ready to announce that the Dance Rhyme was derived from the
+dance, and to explain how the Dance Rhyme became an evolved product of
+the dance.</p>
+
+<p>I witnessed in my early childhood the making of a few Dance Rhymes. I
+have forgotten the words of most of those whose individual making I
+witnessed but the "Jonah's Band Party" found in our collection is one
+whose making I distinctly recall. I shall tell in some detail of its
+origin because it serves in a measure to illustrate how the Dance Rhymes
+probably had their beginnings. First of all be it known that there was a
+"step" in dancing, originated<!-- Page 259 --><span class='pagenum'><a name="Page_259" id="Page_259">[Pg 259]</a></span> by some Negro somewhere, called "Jonah's
+Band" step. There is no need that I should try to describe that step
+which, though of the plain dance type, was accompanied from the
+beginning to the end by indescribable "frills" of foot motion. I can't
+describe it, but if one will take a stick and cause it to tap so as to
+knock the words: "Setch a kickin' up san'! Jonah's band," while he
+repeats the words in the time of 2/4 music measure, the taps will
+reproduce the tattoo beaten upon the ground by the feet of the dancers,
+when they danced the "Jonah's Band" step. The dancers formed a circle
+placing two or more of their skilled dancers in the middle of it. Now
+when I first witnessed this dance, there were no words said at all.
+There was simply patting with the hands and dancing, making a tattoo
+which might be well represented by the words supplied later on in its
+existence. Later, I witnessed the same dance, where the patting and
+dancing were as usual, but one man, apparently the leader, was simply
+crying out the words, "Setch a kickin' up san'!" and the crowd answered
+with the words, "Jonah's Band!"&mdash;the words all being repeated in
+rhythmic harmony with the patting and dancing. Thus was born the line,
+"Setch a kickin' up san'! Jonah's Band!" In some places it was the<!-- Page 260 --><span class='pagenum'><a name="Page_260" id="Page_260">[Pg 260]</a></span>
+custom to call on the dancers to join with those of the circle, at
+intervals in the midst of the dance, in dancing other steps than the
+Jonah's Band step. Some dance leaders, for example, simply called in
+plain prose&mdash;"Dance the Mobile Buck," others calling for another step
+would rhyme their call. Thus arose the last lines to each stanza, such
+as&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Raise y&#333;' right foot, kick it up high!<br /></span>
+<span class="i0">Knock dat 'Mobile Buck' in de eye!"<br /></span>
+</div></div>
+
+<p>This is the genesis of the "Jonah's Band Party," found in our
+collection. The complete rhyme becomes a fine description of an old-time
+Negro party. It is probable that much Dance Rhyme making originated in
+this or a similar way.</p>
+
+<p>Let us assume that Negro customs in Slavery days were what they were in
+my childhood days, then it would come about that such an ocasional Rhyme
+making in a crowd would naturally stimulate individual Rhyme makers, and
+from these individuals would naturally grow up "crops" of Dance Rhymes.
+Of course I cannot absolutely know, but I think when I witnessed the
+making of the "Jonah's Band Party," that I witnessed the stimulus which
+had produced the Dance Rhyme through the decades of preceding years. I
+realize, however, that this does<!-- Page 261 --><span class='pagenum'><a name="Page_261" id="Page_261">[Pg 261]</a></span> not account for the finished Rhyme
+products. It simply gives one source of origin. How the Rhyme grew to
+its complex structure will be discussed later, because that discussion
+belongs not to the Dance Rhyme alone, but to all the Rhymes.</p>
+
+<p>There was a final phase of development of "Jonah's Band Party" witnessed
+by the writer; namely, the singing of the lines, "Setch a kickin' up
+san'! Jonah's Band!" The last lines of the stanzas, the lines calling
+for another step on the part of both the circle and the dancers, were
+never sung to my knowledge. The little tune to the first lines consisted
+of only four notes, and is inserted below.</p>
+
+<div class="figcenter" style="width: 450px;">
+<img src="images/jonah.png" width="450" height="142" alt="Jonah's Band Musical Notation" title="" />
+</div>
+<p class="center"><a href="music/276-jonah.midi">[Listen]</a></p>
+
+<p>I give this as of interest because it marks a partial transition from a
+Dance Rhyme to a Dance Rhyme Song. In days of long ago I occasionally
+saw a Dance Rhyme Song "patted and danced" instead of sung or played and
+danced. This coupled with the transition stage of the "Jonah's Band
+Dance"<!-- Page 262 --><span class='pagenum'><a name="Page_262" id="Page_262">[Pg 262]</a></span> just given has caused me to believe that Dance Rhyme Songs were
+probably evolved from Dance Rhymes pure and simple, through individuals
+putting melodies to these Dance Rhymes.</p>
+
+<p>As Dance Rhymes came from the dance, so likewise Play Rhymes came from
+plays. I shall now discuss the one found in our collection under the
+caption&mdash;"Goosie-gander." Since the Play has probably passed from the
+memory of most persons, I shall tell how it was played. The children
+(and sometimes those in their teens) sat in a circle. One individual,
+the leader, walked inside the circle, from child to child, and said to
+each in turn, "Goosie-gander." If the child answered "Goose," the leader
+said, "I turn your ears loose," and went on to the next child. If he
+answered "Gander," the leader said, "I pull y&#333;' years 'way yander." Then
+ensued a scuffle between the two children; each trying to pull the
+other's ears. The fun for the circle came from watching the scuffle.
+Finally the child who got his ears pulled took his place in the circle,
+leaving the victor as master of ceremonies to call out the challenge
+"Goosie-gander!" The whole idea of the play is borrowed from the
+fighting of the ganders of a flock of geese for their mates. Many other
+plays were likewise borrowed from Nature. Examples are<!-- Page 263 --><span class='pagenum'><a name="Page_263" id="Page_263">[Pg 263]</a></span> found in "Hawk
+and Chickens Play," and "Fox and Geese Play." "Caught by a Witch Play"
+is borrowed from superstition. But to return to "Goosie-gander"&mdash;most
+children of our childhood days played it, using common prose in the
+calls, and answers just as we have here described it. A few children
+here and there so gave their calls and responses as to rhyme them into a
+kind of a little poem as it is recorded in our collection. Without
+further argument, I think it can hardly be doubted that the whole thing
+began as a simple prose call, and response, and that some child inclined
+to rhyming things, started "to do the rest," and was assisted in
+accomplishing the task by other children equally or more gifted. This
+reasonably accounts for the origin of the Play Rhyme.</p>
+
+<p>Now what of the Play Rhyme Songs? There were many more Play Rhyme Songs
+than Play Rhymes. There were some of the Play Rhyme Songs sung in prose
+version by some children and the same Play Song would be sung in rhymed
+version by other children. Likewise the identical Play Song would not be
+sung at all by other children; they would simply repeat the words as in
+the case of the Rhyme "Goosie-gander," just discussed. The little Play
+Song found in our collection under<!-- Page 264 --><span class='pagenum'><a name="Page_264" id="Page_264">[Pg 264]</a></span> the caption, "Did You Feed My Cow?"
+is one which was current in my childhood in the many versions as just
+indicated. The general thought in the story of the Rhyme was the same in
+all versions whether prose or rhyme, or song. In cases where children
+repeated it instead of singing it, it was generally in prose and the
+questions were so framed by the leader that all the general responses by
+the crowd were "Yes, Ma'am!" Where it was sung, it was invariably
+rhymed; and the version found in this collection was about the usual
+one.</p>
+
+<p>The main point in the discussion at this juncture is&mdash;that there were
+large numbers of Play Songs like this one found in the transition stage
+from plain prose to repeated rhyme, and to sung rhyme. Such a status
+leaves little doubt that the Play Song travelled this general road in
+its process of evolution.</p>
+
+<p>I might take up the Courtship Rhymes, and show that they are derivatives
+of Courtship, and so on to the end of all the classes given in my
+outline, but since the evidences and arguments in all the cases are
+essentially the same I deem it unnecessary.</p>
+
+<p>I now turn attention to a peculiar general ideal in Form found in Negro
+Folk Rhymes. It probably is not generally known that the Negroes, who
+emerged from the House of Bondage in the 60's of the last<!-- Page 265 --><span class='pagenum'><a name="Page_265" id="Page_265">[Pg 265]</a></span> century, had
+themselves given a name to their own peculiar form of verse. If it be
+known I am rather confident that it has never been written. They named
+the parts of their verse "Call," and (Re) "Sponse." After explaining
+what is meant by "call" and "sponse," I shall submit an evidence on the
+matter. In its simplest form "call" and "sponse" were what we would call
+in Caucasian music, solo and chorus. As an example, in the little Play
+Song used in our illustration of Play Songs, "Did You Feed My Cow?" was
+sung as a solo and was known as the "Call," while the chorus that
+answered "Yes, Ma'am" was known as the "Sponse."</p>
+
+<p>I now beg to offer testimony in corroboration of my assertion that
+Negroes had named their Rhyme parts "Call" and "Sponse." So well were
+these established parts of a Negro Rhyme recognized among Negroes that
+the whole turning point of one of their best stories was based upon it.
+I have reference to the Negro story recorded by Mr. Joel Chandler Harris
+in his "Nights with Uncle Remus," under the caption, "Brother Fox,
+Brother Rabbit, and King Deer's Daughter." Those who would enjoy the
+story, as the writer did in his childhood days, as it fell from the lips
+of his dear little friends and dusky playmates, will read the story in
+Mr.<!-- Page 266 --><span class='pagenum'><a name="Page_266" id="Page_266">[Pg 266]</a></span> Harris' book. The gist of the story is as follows: The fox and the
+rabbit fall in love with King Deer's daughter. The fox has just about
+become the successful suitor, when the rabbit goes through King Deer's
+lot and kills some of King Deer's goats. He then goes to King Deer, and
+tells him that the fox killed the goats, and offers to make the fox
+admit the deed in King Deer's hearing. This being agreed to, the rabbit
+goes to find the fox, and proposes that they serenade the King Deer
+family. The fox agreed. Then the rabbit proposes that he sing the "Call"
+and that the fox sing the "Sponse" (or, as Mr. Harris records the story,
+the "answer"), and this too was agreed upon. We now quote from Mr.
+Harris:</p>
+
+<p>"Ole Br'er Rabbit, he make up de song he own se'f en' he fix it so that
+he sing de <i>Call</i> lak de Captain er de co'n-pile, en ole Br'er Fox, he
+hatter sing de answer...." "Ole Br'er Rabbit, he got de call en he open
+up lak dis:</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"'Some folks pile up mo'n dey kin tote,<br /></span>
+<span class="i0">En dat w'at de matter wid King Deer's goat.'<br /></span>
+</div></div>
+
+<p>en den Br'er Fox, he make <i>answer</i>, 'Dat's so, dat's so, en I'm glad dat
+it's so.' Den de quills, and de<!-- Page 267 --><span class='pagenum'><a name="Page_267" id="Page_267">[Pg 267]</a></span> tr'angle, dey come in, en den Br'er
+Rabbit pursue on wid de call&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"'Some kill sheep, en some kill shote,<br /></span>
+<span class="i0">But Br'er Fox kill King Deer goat,'<br /></span>
+</div></div>
+
+<p>en den Br'er Fox, he jine in wid de answer, 'I did, I did, en I'm glad
+dat I did.'"</p>
+
+<p>The writer would add that the story ends with a statement that King Deer
+came out with his walking cane, and beat the fox, and then invited the
+rabbit in to eat chicken pie.</p>
+
+<p>From the foregoing one will recognize the naming, by the Negroes
+themselves, of the parts of their rhymed song, as "call," and "answer."
+Now just a word concerning the term "answer," instead of "sponse," as
+used by the writer. You will notice that Mr. Harris records,
+incidentally, of Br'er Rabbit "dat he sing de <i>call</i>, lak de Captain er
+de co'n pile." This has reference to the singing of the Negroes at corn
+huskings where the leader sings a kind of solo part, and the others by
+way of response, sing a kind of chorus. At corn huskings, at plays, and
+elsewhere, when Negroes sang secular songs, some one was chosen to lead.
+As a little boy, I witnessed secular singing in all these places. When a
+leader was chosen, the invariable words of his commission<!-- Page 268 --><span class='pagenum'><a name="Page_268" id="Page_268">[Pg 268]</a></span> were: "You
+sing the 'call' and we'll sing the '<i>sponse</i>.'" Of course the sentence
+was not quite so well constructed grammatically, but "call" and "sponse"
+were the terms always used. This being true, I have felt that I ought to
+use these terms, though I recognize the probability of there being
+communities where the word <i>answer</i> would be used. All folk terms and
+writings have different versions.</p>
+
+<p>The "sponses" in most of the Negro Folk Rhymes in our collection are
+wanting, and the Rhymes themselves, in most cases, consist of calls
+only. As examples of those with "sponses" left, may be mentioned "Juba"
+with its sponse "Juba"; "Frog Went A-courting," with its sponse
+"Uh-huh!"; "Did You Feed My Cow?" with its sponse "Yes, Ma'am," etc.,
+and "The Old Black Gnats," where the sponses are "I cain't git out'n
+here, etc."</p>
+
+<p>I shall now endeavor to show why the Negro Folk Rhymes consist in most
+cases of "calls" only, and how and why the "sponses" have disappeared
+from the finished product. I record here the notes of two common Negro
+Play Songs along with sample stanzas used in the singing of them. I hope
+through a little study of these, to make clear the matter of Folk Rhyme
+development, to the point of dropping the "sponse."</p>
+
+<p><!-- Page 269 --><span class='pagenum'><a name="Page_269" id="Page_269">[Pg 269]</a></span></p>
+
+<div class="figcenter" style="width: 448px;">
+<img src="images/hollydink.png" width="448" height="306" alt="Holly Dink Call and 'Sponse Musical Notation" title="" />
+</div>
+<p class="center"><a href="music/284a-hollydink.midi">[Listen]</a></p>
+
+<div class="figcenter" style="width: 450px;">
+<img src="images/hailstorm.png" width="450" height="376" alt="Hail Storm Call and 'Sponse Musical Notation" title="" />
+</div>
+
+<p class="center"><a href="music/284b-hailstorm.midi">[Listen]</a></p>
+
+<p><!-- Page 270 --><span class='pagenum'><a name="Page_270" id="Page_270">[Pg 270]</a></span></p><p>These simple little songs,&mdash;the first made up of five notes, and the
+second of seven,&mdash;are typical Negro Play songs. I shall not describe the
+simple play which accompanied them because that description would not
+add to the knowledge of the evolution under consideration.</p>
+
+<p>At a Negro Evening Entertainment several such songs would be sung and
+played, and some individual would be chosen to lead or sing the "calls"
+of each of the songs. The 'sponses in some cases were meaningless
+utterances, like "Holly Dink," given in the first song recorded, while
+others were made up of some sentence like "'Tain't Gwineter Rain No
+M&#333;'!" found in the second song given. The "sponses" were not expected to
+bear a special continuous relation in thought to the "calls." Indeed no
+one ever thought of the 'sponses as conveyers of thought, whether
+jumbled syllables or sentences. The songs went under the names of the
+various sponses. Thus the first Play Song recorded was known as "Holly
+Dink," and the second as "'Tain't Gwineter Rain No M&#333;'."</p>
+
+<p>The playing and singing of each of these songs commonly went on
+continuously for a quarter of an hour or more. This being the case, we
+scarcely need add that the leader of the Play Song had both<!-- Page 271 --><span class='pagenum'><a name="Page_271" id="Page_271">[Pg 271]</a></span> his memory
+and ingenuity taxed to their utmost, in devising enough "calls" to last
+through so long a period of time of continuous playing and singing. The
+reader will notice under both of the Play Songs recorded, that I have
+written under "(a)" two stanzas of prose "calls." I would convey the
+thought to the reader, by these illustrations, that the one singing the
+"calls" was at liberty to use, and did use any prose sentence that would
+fit in with the "call" measures of the song.</p>
+
+<p>Of course these prose "calls" had to be rhythmic to fit into the
+measures, but much freedom was allowed in respacing the time allotted to
+notes, and in the redivision of the notes in the "fitting in" process.
+Even these prose stanzas bore the mark of Rhyme to the Negro fancy. The
+reader will notice that, where the "call" is in prose, it is always
+repeated, and thus the line in fancy rhymed with itself. Examples as
+found in our Second Play Song:</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Hail storm, frosty night.<br /></span>
+<span class="i0">Hail storm, frosty night."<br /></span>
+</div></div>
+
+<p>Now, it was considered by Negroes, in the days gone by, something of an
+accomplishment for a leader to be able to sing "calls," for so long a
+time, when they bore some meaning, and still a greater accomplishment<!-- Page 272 --><span class='pagenum'><a name="Page_272" id="Page_272">[Pg 272]</a></span>
+to sing the calls both in rhyme and with meaning. This led each
+individual to rhyme his calls as far as possible because leaders were
+invited to lead songs during an evening's entertainment, largely in
+accordance with their ability, and thus those desiring to lead were
+compelled to make attainment in both rhyme and meaning. Now, the reader
+will notice under "Holly Dink," heading "(b)," "I sh&#333;' loves Miss
+Donie." This is a part of the opening line of our Negro Rhyme, "Likes
+and Dislikes." I would convey the thought to the reader that this whole
+Rhyme, and any other Negro Rhyme which would fit into a 2/4 music
+measure, could be, and was used by the Play Song leader in singing the
+calls of "Holly Dink." Thus a leader would lead such a song; and by
+using one whole Rhyme after another, succeed in rhyming the calls for a
+quarter of an hour. If his Rhymes "gave out," he used rhythmic prose
+calls; and since these did not need to have meaning, his store was
+unlimited. Just as any Rhyme which could be fitted into a 2/4 music
+measure would be used with "Holly Dink," so any Rhyme which could be
+fitted into a 4/4 measure would be used with the "'Tain't Gwineter Rain
+No M&#333;'." Illustrations given under "(b)" and "(c)" under the last
+mentioned song are<!-- Page 273 --><span class='pagenum'><a name="Page_273" id="Page_273">[Pg 273]</a></span>&mdash;"Promises of Freedom," and "Hawk and Buzzard."</p>
+
+<p>Since all Negro Songs with a few exceptions were written in 4/4 measures
+and 2/4 measures, and Negro rhymed "calls" were also written in the same
+way, the rhymed "calls" which may have originated with one song were
+transferred to, and used with other songs. <i>Thus the rhymed "calls"
+becoming detached for use with any and all songs into which they could
+be fitted, gave rise to the multitude of Negro Folk Rhymes, a small
+fragment of which multitude is recorded in our collection.</i> Negro Dances
+and Dance Rhymes were both constructed in 2/4 and 4/4 measures, and the
+Rhymes were propagated for that same reason. Rhymes, once detached from
+their original song or dance, were learned, and often repeated for mere
+pastime, and thus they were transmitted to others as unit compositions.</p>
+
+<p>We have now seen how detached rhymed "calls" made our Negro Folk Rhymes.
+Next let us consider how and why whole little "poems" arose in a Play
+Song. One will notice in reading Negro Folk Rhymes that the larger
+number of them tell a little story or give some little comic
+description, or some little striking thought. Since all the Rhymes had
+to be memorized to insure their continued existence,<!-- Page 274 --><span class='pagenum'><a name="Page_274" id="Page_274">[Pg 274]</a></span> and since Memory
+works largely through Association; one readily sees that the putting of
+the Rhymes into a story, descriptive, or striking thought form, was the
+only thing that could cause their being kept alive. It was only through
+their being composed thus that Association was able to assist Memory in
+recalling them. Those carrying another form carried their death warrant.</p>
+
+<p>Now let us look a little more intimately into how the Rhymes were
+probably composed. In collecting them, I often had the same Rhyme given
+to me over and over again by different individuals. Most of the Rhymes
+were given by different individuals in fragmentary form. In case of all
+the Rhymes thus received, there would always be a half stanza, or a
+whole stanza which all contributors' versions held in common. As
+examples: in "Promises of Freedom," all contributors gave the lines&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"My ole Mistiss promise me<br /></span>
+<span class="i0">W'en she died, she'd set me free."<br /></span>
+</div></div>
+
+<p>In "She Hugged Me and Kissed Me," the second stanza was given by all. In
+"Old Man Know-All," the first two lines of the last stanza came from all
+who gave the Rhyme. The writer terms these parts of the individual
+Rhymes, seemingly known to all<!-- Page 275 --><span class='pagenum'><a name="Page_275" id="Page_275">[Pg 275]</a></span> who know the "poems," <i>key verses</i>. The
+very fact that the key verses, only, are known to all, seems to me to
+warrant the conclusion that these were probably the first verses made in
+each individual Rhyme. Now when an individual made such a key verse, one
+can easily see that various singers of "calls" using it would attempt to
+associate other verses of their own making with it in order to remember
+them all for their long "singing Bees." The story, the description, and
+the striking thought furnished convenient vehicles for this association
+of verses, so as to make them easy to keep in memory. This is why the
+verses of many singers of "Calls" finally became blended into little
+poem-like Rhymes.</p>
+
+<p>I have pointed out "call" and "sponse," in Rhymes, and have shown how,
+through them, in song, the form of the Negro Rhyme came into existence.
+But many of the Pastime Rhymes apparently had no connection with the
+Play or the Dance. I must now endeavor to account for such Rhymes as
+these.</p>
+
+<p>In order to do this, I must enter upon the task of trying to show how
+"call" and "sponse" originated.</p>
+
+<p>The origin of "call" and "sponse" is plainly written on the faces of the
+rhymes of the Social Instinct type. Read once again the following rhyme
+recorded<!-- Page 276 --><span class='pagenum'><a name="Page_276" id="Page_276">[Pg 276]</a></span> in our collection under the caption of "Antebellum Courtship
+Inquiry"&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">(He)&mdash;"Is you a flyin' lark, or a settin' dove?"<br /></span>
+<span class="i0">(She)&mdash;"I'se a flyin' lark, my Honey Love."<br /></span>
+<span class="i0">(He)&mdash;"Is you a bird o' one fedder, or a bird o' two?"<br /></span>
+<span class="i0">(She)&mdash;"I'se a bird o' one fedder, w'en it comes to you."<br /></span>
+<span class="i0">(He)&mdash;"Den Mam:<br /></span>
+<span class="i0">"I has desire an' quick temptation<br /></span>
+<span class="i0">To jine my fence to y&#333;' plantation."<br /></span>
+</div></div>
+
+<p>This is primitive courtship; direct, quick, conclusive. It is the crude
+call of one heart, and the crude response of another heart. The two
+answering and blending into one, in the primitive days, made a rhymed
+couplet&mdash;one. It is "call" and "sponse," born to vibrate in
+complementary unison with two hearts that beat as one. "Did all Negroes
+carry on courtship in this manner in olden days?" No, not by any means.
+Only the more primitive by custom, and otherwise used such forms of
+courtship. The more intelligent of those who came out of slavery had
+made the white man's customs their own, and laughed at such crudities,
+quite as much as we of the present day. The writer thinks his ability
+to<!-- Page 277 --><span class='pagenum'><a name="Page_277" id="Page_277">[Pg 277]</a></span> recall from childhood days a clear remembrance of many of these
+crude things is due to the fact that he belonged to a Negro family that
+laughed much, early and late, at such things. But the simple forms of
+"call" and "sponse" were used much in courtship by the more primitive.
+This points out something of the general origin of "call" and "sponse"
+in Social Instinct Rhymes, but does not account for their origin in
+other types of Rhymes. I now turn attention to those.</p>
+
+<p>About eighteen years ago I was making a Sociological investigation for
+Tuskegee Institute, which carried me into a remote rural district in the
+Black Belt of Alabama. In the afternoon, when the Negro laborers were
+going home from the fields and occasionally during the day, these
+laborers on one plantation would utter loud musical "calls" and the
+"calls" would be answered by musical responses from the laborers on
+other plantations. These calls and responses had no peculiar
+significance. They were only for whatever pleasure these Negroes found
+in the cries and apparently might be placed in a parallel column
+alongside of the call of a song bird in the woods being answered by
+another. Dr. William H. Sheppard, many years a missionary in Congo,
+Africa, upon inquiry, tells me that similar<!-- Page 278 --><span class='pagenum'><a name="Page_278" id="Page_278">[Pg 278]</a></span> calls and responses obtain
+there, though not so musical. He also tells me that the calls have a
+meaning there. There are calls and responses for those lost in the
+forest, for fire, for the approach of enemies, etc. These Alabama Negro
+calls, however, had no meaning, and yet the calls and responses so
+fitted into each other as to make a little complete tune.</p>
+
+<p>Now, I had heard "field" calls all during my early childhood in
+Tennessee, and these also were answered by men in adjoining fields. But
+the Tennessee calls and responses which I remembered had no kinship
+which would combine them into a kind of little completed song as was the
+case with the Alabama calls and responses.</p>
+
+<p>Again, in Tennessee when a musical call was uttered by the laborers in
+one field, those in the other fields around would often use identically
+the same call as a response. The Alabama calls and responses were short,
+while those of Tennessee were long.</p>
+
+<p>I am listing an Alabama "call" and "response." I regret that I cannot
+recall more of them. I am also recording three Tennessee calls or
+responses (for they may be called either). Then I am recording a fourth
+one from Tennessee, not exactly a call, but partly call and partly song.
+The reason for<!-- Page 279 --><span class='pagenum'><a name="Page_279" id="Page_279">[Pg 279]</a></span> this will appear later. By a study of these I think we
+can pretty reasonably make a final interesting deduction as to the
+general origin of "call" and "sponse" in the form of the types of Rhyme
+not already discussed.</p>
+
+<p>In the Alabama Field Call and response one cannot help seeing a
+counterpart in music of the "call" and "sponse" in the words of the
+types of Rhymes already discussed.</p>
+
+<h5>ALABAMA FIELD CALL AND RESPONSE</h5>
+
+<div class="figcenter" style="width: 449px;">
+<img src="images/alabama.png" width="449" height="195" alt="Alabama Call and 'Sponse Musical Notation" title="" />
+</div>
+
+<p class="center"><a href="music/294a-alabama.midi">[Listen]</a></p>
+
+<h5>TENNESSEE FIELD CALLS OR RESPONSES</h5>
+
+<div class="figcenter" style="width: 450px;">
+<img src="images/tenn1.png" width="450" height="184" alt="Tennessee Call and 'Sponse Musical Notation 1" title="" />
+</div>
+<p class="center"><a href="music/294b-tenn1.midi">[Listen]</a></p>
+
+<p><!-- Page 280 --><span class='pagenum'><a name="Page_280" id="Page_280">[Pg 280]</a></span></p>
+
+<div class="figcenter" style="width: 452px;">
+<img src="images/tenn2.png" width="452" height="190" alt="Tennessee Call and 'Sponse Musical Notation 2" title="" />
+</div>
+<p class="center"><a href="music/295a-tenn2.midi">[Listen]</a></p>
+
+<div class="figcenter" style="width: 453px;">
+<img src="images/tenn3.png" width="453" height="222" alt="Tennessee Call and 'Sponse Musical Notation 3" title="" />
+</div>
+<p class="center"><a href="music/295b-tenn3.midi">[Listen]</a></p>
+
+<div class="figcenter" style="width: 449px;">
+<img src="images/tenn4.png" width="449" height="191" alt="Tennessee Call and 'Sponse Musical Notation 4" title="" />
+</div>
+<p class="center"><a href="music/295c-tenn4.midi">[Listen]</a></p>
+
+<p><!-- Page 281 --><span class='pagenum'><a name="Page_281" id="Page_281">[Pg 281]</a></span></p>
+
+<p>If one looks at Number 1 under the Tennessee calls or responses, there
+is nothing to indicate especially that it was ever other than the whole
+as it is here written. But when he looks at Number 2 under Tennessee
+calls or responses he is struck with the remarkable fact that it changes
+right in the midst from the rhythm of the 9/8 measure to that of the 6/8
+measure. Now if there be any one characteristic which is constant in
+Negro music it is that the rhythm remains the same throughout a given
+production. In a very, very few long Negro productions I have known an
+occasional change in the time, but <i>never</i> in a musical production
+consisting of a few measures. The only reasonable explanation to be
+offered for the break in the time of Number 2, as a Negro production, is
+that it was originally a "call" and "response"; the "call" being in a
+9/8 measure and the "response" being in a 6/8 measure. Here then we have
+"call" and "sponse." It would look as if the Negroes in Tennessee had
+combined the "calls" and "sponses" into one and had used them as a
+whole. When we accept this view all the differences, between the Alabama
+and Tennessee productions, before mentioned are accounted for. Then
+looking again at Number 1 under Tennessee calls or responses, one sees
+that it would conveniently<!-- Page 282 --><span class='pagenum'><a name="Page_282" id="Page_282">[Pg 282]</a></span> divide right in the middle to make a "call"
+and "sponse." Now look at Number 3 under Tennessee calls. It was usually
+cried off with the syllable <i>ah</i> and would easily divide in the middle.
+I remember this "call" very distinctly from my childhood because the men
+giving it placed the thumb upon the larynx and made it vibrate
+longitudinally while uttering the cry. The thumb thus used produced a
+peculiar screeching and rattling tone that hardly sounded human. But the
+words "I want a piece of hoecake, etc.," as recorded under the "call,"
+were often rhymed off in song with it. Thus we trace the form of "call"
+and "sponse" from the friendly musical greeting between laborers at a
+distance to the place of the formation of a crude Rhyme to go with it. I
+would have the reader notice that these words finally supplied were in
+"call" and "sponse" form. The idea is that one individual says: "I want
+a piece of hoecake, I want a piece o' bread," and another chimes in by
+way of response: "Well, I'se so tired and hongry dat I'se almos' dead."</p>
+
+<p>"Ole Billie Bawlie" found as Number 4 was a little song which was used
+to deride men who had little ability musically to intonate "calls" and
+"sponses." The name "Bawlie" was applied to emphasize that the
+individual bawled instead of sounding<!-- Page 283 --><span class='pagenum'><a name="Page_283" id="Page_283">[Pg 283]</a></span> pleasant notes. It is of interest
+to us because it is a mixture of Rhyme and Field "call" and completes
+the connecting links along the line of Evolution between the "call" and
+"sponse" and the Rhyme.</p>
+
+<p>Wherever one thing is derived from another by process of Evolution,
+there is the well known biological law that there ought to be every
+grade of connecting link between the original and the last evolved
+product. The law holds good here in our Rhymes. If this last statement
+holds good then the law must be universal. May we be permitted to
+digress enough to show that the law is universal because, though it is a
+law whose biological phase has been long recognized, not much attention
+has been paid to it in other fields.</p>
+
+<p>It holds good in the world of inanimate matter. There are three general
+classes of chemical compounds: Acids, bases, and salts. But along with
+these three general classes are found all kinds of connecting links:
+Acid salts, basic salts, hydroxy acids, etc.</p>
+
+<p>It holds good in the animal and plant worlds. Looking at the ancestors
+of the horse in geological history we find that the first kind of horse
+to appear upon the earth was the &#338;ohippus. He had<!-- Page 284 --><span class='pagenum'><a name="Page_284" id="Page_284">[Pg 284]</a></span> four toes on the
+hind foot and three on the front one. Through a long period of
+development, the present day one-toed horse descended from this
+many-toed primitive horse. There is certainty of the line of descent of
+the horse because all the connecting links have been discovered in
+fossil form, between the primitive horse and the present day horse.
+Plants in like manner show all kinds of connecting links.</p>
+
+<p>The law holds sway in the world of language; and that is the world with
+which we are concerned here. The state of Louisiana once belonged to the
+French; now it belongs to an English-speaking people. If one goes among
+the Creoles in Louisiana he will find a very few who speak almost
+Parisian French and very poor English. Then he will find a very large
+number who speak a pure English and a very poor French. Between these
+classes he will find those speaking all grades of French and English.
+These last mentioned are the connecting links, and the connecting links
+bespeak a line of evolution where those of French descent are gradually
+passing over to a class which will finally speak the English language
+exclusively.</p>
+
+<p>Now let us turn our attention again directly to the discussion of the
+evolution of Negro Folk<!-- Page 285 --><span class='pagenum'><a name="Page_285" id="Page_285">[Pg 285]</a></span> Rhymes. One can judge whether or not he has
+discovered the correct line of descent of the Rhymes by seeing whether
+or not he has all the connecting links requisite to the line of
+evolution. I think it must be agreed that I have given every type of
+connecting link between common Field "calls" and "sponses," and
+incipient crude Negro Rhymes. They set the mold for the other general
+Negro Rhymes not hitherto discussed.</p>
+
+<p>If the reader will be kind enough to apply the test of connecting links
+to the Play and other Rhymes already discussed, he will find that the
+reactions will indicate that we have traced their correct lines of
+origin and descent.</p>
+
+<p>The spirit of "call" and "sponse" hovers ghost-like over the very
+thought of many Negro Rhymes. In "Jaybird," the first two lines of each
+stanza are a call in thought, while the last two lines are a "sponse" in
+thought to it. The same is true of "He Is My Horse," "Stand Back, Black
+Man," "Bob-White's Song," "Promises of Freedom," "The Town and the
+Country Bird," and many others.</p>
+
+<p>Then "call" and "sponse" looms up in the midst in thought between stanza
+and stanza in many Rhymes. Good examples are found in "The Great Owl's
+Song," "Sheep and Goat," "The Snail's Reply,"<!-- Page 286 --><span class='pagenum'><a name="Page_286" id="Page_286">[Pg 286]</a></span> "Let's Marry&mdash;Courtship,"
+"Shoo! Shoo!" "When I Go to Marry," and many others.</p>
+
+<p>"Call" and "sponse" even runs, at least in one case, between whole
+Rhymes. "I Wouldn't Marry a Black Girl" as a "call" has for its
+"sponse": "I Wouldn't Marry a Yellow or a White Negro Girl." The Rhyme
+"I'd Rather Be a Negro Than a Poor White Man" is a "sponse" to an
+imaginary "call" that the Negro is inferior by nature.</p>
+
+<p>After some consideration, as compiler of the Negro Rhymes, I thought I
+ought to say something of their rhyming system, but before doing this I
+want to consider for a little the general structure of a stanza in Negro
+Rhymes.</p>
+
+<p>Of course there is no law, but the number of lines in a stanza of
+English poetry is commonly a multiple of two. The large majority of
+Negro Rhymes follows this same rule, but, even in case of these, the
+lines are so unsymmetrical that they make but the faintest approach to
+the commonly accepted standards. Then there are Rhymes with stanzas of
+three lines and there are those with five, six, and seven lines. This is
+because the imaginary music measure is the unit of measurement instead
+of feet, and the stanzas are all right so long as they run in consonance
+with the laws governing music measures<!-- Page 287 --><span class='pagenum'><a name="Page_287" id="Page_287">[Pg 287]</a></span> and rhythm. In a tune like "Old
+Hundred" commonly used in churches as a Doxology, there are four
+divisions in the music corresponding with the four lines of the stanza.
+Each division is called, in music, a Phrase. Two of these Phrases make a
+Phrase Group and two Phrase Groups make a Period. Now when one moves
+musically through a Phrase Group his sense of rhythm is partially
+satisfied and when he has moved through a Period the sense of Rhythm is
+entirely satisfied.</p>
+
+<p>When one reads the three line stanzas of Negro Folk Rhymes he passes
+through a music Period and thus the stanza satisfies in its rhythm.
+Example:</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Bridle up er rat,<br /></span>
+<span class="i0">Saddle up er cat,<br /></span>
+<span class="i0">An' han' me down my big straw hat."<br /></span>
+</div></div>
+
+<p>Here the first two lines are a Phrase each and constitute together a
+Phrase Group. The third line is made up of two Phrases, or a Phrase
+Group in itself. Thus this third line along with the first two makes a
+Music Period and the whole satisfies our rhythmic sense though the lines
+are apparently odd. In all Negro Rhymes, however odd in number and
+however ragged may seem the lines, the music<!-- Page 288 --><span class='pagenum'><a name="Page_288" id="Page_288">[Pg 288]</a></span> Phrases and Periods are
+there in such symmetry as to satisfy our sense of rhythm.</p>
+
+<p>I now turn attention to the rhyming of the lines in Negro verse. The
+ordinary systems of rhyming as set forth by our best authors will take
+in most Negro Rhymes. Most of them are Adjacent and Interwoven Rhymes.
+There are five systems of rhyming commonly used in the white man's
+poetry but the Negro Rhyme has nine systems. Here again we find a
+parallelism, as in case of music scales, etc. Five in each system are
+the same. The ordinary commonly accepted systems are:</p>
+
+<table border="0" summary="Rhyming Systems">
+
+<tr>
+  <td>a</td>
+  <td rowspan="1" class="b-rt">&nbsp;</td>
+  <td class="b-lb">&nbsp;</td>
+  <td rowspan="2">Where the adjacent lines rhyme by twos. We
+  call it "Adjacent rhymes" or a "Couplet."</td>
+</tr>
+
+<tr>
+  <td>a</td>
+  <td rowspan="1" class="b-rb">&nbsp;</td>
+</tr>
+
+<tr><td>&nbsp;</td><td>&nbsp;</td><td>&nbsp;</td>
+<td>&nbsp;</td></tr>
+
+<tr>
+<td>a</td>
+<td class="b-rt">&nbsp;</td>
+<td>&nbsp;</td>
+  <td rowspan="4">Where the alternating lines rhyme we
+  call it "Alternate" or "Interwoven Rhyme."</td>
+</tr>
+
+<tr>
+<td>b</td>
+<td>&nbsp;</td>
+<td class="b-lb">&nbsp;</td>
+</tr>
+
+<tr>
+<td>a</td>
+<td>&nbsp;</td>
+<td class="b-lt">&nbsp;</td>
+</tr>
+
+<tr>
+<td>b</td>
+<td class="b-rb">&nbsp;</td>
+<td>&nbsp;</td>
+</tr>
+
+<tr><td>&nbsp;</td><td>&nbsp;</td><td>&nbsp;</td>
+<td>&nbsp;</td></tr>
+
+<tr>
+<td>a</td>
+<td class="b-rt">&nbsp;</td>
+<td>&nbsp;</td>
+  <td rowspan="4">Where lines 1 and 4, and 2 and 3 rhyme
+   respectively with each other. This is called
+   "Close Rhyme."</td>
+</tr>
+
+<tr>
+<td>b</td>
+<td>&nbsp;</td>
+<td class="b-lb">&nbsp;</td>
+</tr>
+
+<tr>
+<td>b</td>
+<td>&nbsp;</td>
+<td class="b-lt">&nbsp;</td>
+</tr>
+
+<tr>
+<td>a</td>
+<td class="b-rb">&nbsp;</td>
+<td>&nbsp;</td>
+</tr>
+
+<tr>
+<td>&nbsp;</td><td>&nbsp;</td><td>&nbsp;</td>
+<td><!-- Page 289 --><span class='pagenum'><a name="Page_289" id="Page_289">[Pg 289]</a></span>
+</td>
+</tr>
+
+<tr>
+<td>a</td>
+<td class="b-rt">&nbsp;</td>
+<td>&nbsp;</td>
+  <td rowspan="4">Where in a stanza of four lines, lines 2 and
+4 only rhyme. This is sometimes also called
+"Alternate Rhyme."</td>
+</tr>
+
+<tr>
+<td>b</td>
+<td>&nbsp;</td>
+<td class="b-lb">&nbsp;</td>
+</tr>
+
+<tr>
+<td>c</td>
+<td>&nbsp;</td>
+<td class="b-lt">&nbsp;</td>
+</tr>
+
+<tr>
+<td>b</td>
+<td class="b-rb">&nbsp;</td>
+<td>&nbsp;</td>
+</tr>
+
+<tr><td>&nbsp;</td><td>&nbsp;</td><td>&nbsp;</td>
+<td>&nbsp;</td></tr>
+
+<tr>
+<td>a</td>
+<td class="b-rt">&nbsp;</td>
+<td>&nbsp;</td>
+  <td rowspan="4">Where in a stanza of four lines 1, 2 and 4
+  rhyme. This is called "Interrupted Rhyme."</td>
+</tr>
+
+<tr>
+<td>a</td>
+<td>&nbsp;</td>
+<td class="b-lb">&nbsp;</td>
+</tr>
+
+<tr>
+<td>b</td>
+<td>&nbsp;</td>
+<td class="b-lt">&nbsp;</td>
+</tr>
+
+<tr>
+<td>a</td>
+<td class="b-rb">&nbsp;</td>
+<td>&nbsp;</td>
+</tr>
+</table>
+
+<p>I now beg to offer a system of classification in rhyming which will
+include all Negro Rhymes. I shall insert the ordinary names in
+parenthesis along with the new names wherever the system coincides with
+the ordinary system for white men's Rhymes. The only reason for not
+using the old names exclusively in these places is that nomenclature
+should be kept consistent in any proposed classification, so far as that
+is possible.</p>
+
+<p>In classifying the rhyming of the lines or verses I have borrowed terms
+from the gem world, partly because the Negro hails from Africa, a land
+of gems; and partly because the verses bear whatever beauty there might
+have been in his crude crystalized thoughts in the dark days of his
+enslavement.</p>
+
+<p><!-- Page 290 --><span class='pagenum'><a name="Page_290" id="Page_290">[Pg 290]</a></span>
+I present herewith the outline and follow it with explanations:</p>
+
+<table border="0" summary="Negro Folk Rhymes Rhyming System">
+
+<tr>
+<th class="ital">Class</th>
+<td>&nbsp;</td>
+<td>&nbsp;</td>
+<th class="ital">Systems</th>
+</tr>
+
+<tr>
+<td rowspan="2" valign="top">I Rhythmic <ins class="correction" title="original reads: Solitaire.">Solitaire</ins></td>
+<td rowspan="1" class="b-rb">&nbsp;</td>
+<td rowspan="1" class="b-lt">&nbsp;</td>
+<td rowspan="2">(a) Rhythmic measured lines</td>
+</tr>
+
+<tr>
+<td rowspan="1" class="b-rt">&nbsp;&nbsp;</td>
+  <td rowspan="1" class="b-lb">&nbsp;&nbsp;</td>
+</tr>
+
+<tr><td>&nbsp;</td><td>&nbsp;</td><td>&nbsp;</td><td>&nbsp;</td></tr>
+
+<tr>
+<td rowspan="3" valign="top">II Rhymed Doublet</td>
+<td>&nbsp;</td>
+<td class="b-lt">&nbsp;</td>
+<td>(a) Regular (Adjacent Rhyme)</td>
+</tr>
+
+<tr>
+<td class="b-rt">&nbsp;</td>
+<td>&nbsp;</td>
+<td>(b) Divided (Includes Close Rhyme)</td>
+</tr>
+
+<tr>
+<td>&nbsp;</td>
+<td class="b-lb">&nbsp;</td>
+<td>(c) <ins class="correction" title="original reads: Supplemented.">Supplemented</ins></td>
+</tr>
+
+<tr><td>&nbsp;</td><td>&nbsp;</td><td>&nbsp;</td><td>&nbsp;</td></tr>
+
+<tr>
+  <td rowspan="2" valign="top">III Rhyming Doublet</td>
+  <td class="b-rb">&nbsp;</td>
+  <td class="b-lt">&nbsp;</td>
+  <td>(a) Regular (Includes Alternate Rhyme)</td>
+</tr>
+
+<tr>
+  <td>&nbsp;</td>
+  <td class="b-lb">&nbsp;</td>
+  <td>(b) Inverted (Close Rhyme)</td>
+</tr>
+
+<tr><td>&nbsp;</td><td>&nbsp;</td><td>&nbsp;</td><td>&nbsp;</td></tr>
+
+<tr>
+<td rowspan="3" valign="top">IV Rhymed Cluster</td>
+<td>&nbsp;</td>
+<td class="b-lt">&nbsp;</td>
+<td>(a) Regular</td>
+</tr>
+
+<tr>
+<td class="b-rt">&nbsp;</td>
+<td>&nbsp;</td>
+<td>(b) Divided (Interrupted Rhyme)</td>
+</tr>
+
+<tr>
+<td>&nbsp;</td>
+<td class="b-lb">&nbsp;</td>
+<td>(c) Supplemented</td>
+</tr>
+</table>
+
+<p><ins class="correction" title="original reads: I a"><i>I a.</i></ins> Rhythmic Solitaire, Rhythmic measured lines. In many Rhymes there
+is a rhythmic line dropped in here and there that doesn't rhyme with<!-- Page 291 --><span class='pagenum'><a name="Page_291" id="Page_291">[Pg 291]</a></span>
+any other line. They are rhythmic like the other lines and serve equally
+to fill out the music Phrases and Periods. These are the Rhythmic
+Solitaires and because of their solitaire nature it follows that there
+is only one system. Examples are found in the first line of each stanza
+of "Likes and Dislikes"; in the second line of each stanza of "Old Aunt
+Kate;" in lines five and six of each stanza of "I'll Wear Me a Cotton
+Dress," in lines three and four of the "Sweet Pinks Kissing Song," etc.
+The Rhythmic Solitaires do not seem to have been largely used by Negroes
+for whole compositions. Only one whole Rhyme in our collection is
+written with Rhythmic Solitaires. That Rhyme is: "Song to the Runaway
+Slave." This Rhyme is made up of blank verse as measured by the white
+man's standard.</p>
+
+<p><i>II a.</i> The Regular Rhymed Doublet. This is the same as our common
+Adjacent Rhyme. There are large numbers of Negro Rhymes which belong to
+this system. The "Jaybird" is a good example.</p>
+
+<p><i>II b.</i> The Divided Rhymed Doublet. It includes Close Rhyme and there
+are many of this system. In ordinary Close Rhyme one set of rhyming
+lines (two in number) is separated by two intervening lines, but this
+"Rhyming Couplet" in Negro<!-- Page 292 --><span class='pagenum'><a name="Page_292" id="Page_292">[Pg 292]</a></span> Rhymes may be separated by three lines as in
+"Bought Me a Wife," where the divided doublet consists of lines 3 and 7.
+Then the Divided Rhymed Doublet may be separated by only one line, as in
+"Good-by, Wife," where the Doublet is found in lines 5 and 7.</p>
+
+<p><i>II c.</i> The Supplemented Rhymed Doublet. It is illustrated by "Juba"
+found in our collection. The words "Juba! Juba!" found following the
+second line of each stanza, are the supplement. I shall take up the
+explanation of Supplemented Rhyme later, since the explanation goes with
+all Supplemented Rhyme and not with the Doublet only. I consider the
+Supplement one of the things peculiarly characteristic of Negro Rhyme.
+The following stanza illustrates such a Supplemented Doublet:</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Juba jump! Juba sing!<br /></span>
+<span class="i0">Juba cut dat Pidgeon's Wing! Juba! <ins class="correction" title="! missing in original">Juba!</ins>"<br /></span>
+</div></div>
+
+<p>Representing such a rhyming by letters we have</p>
+
+<table class="lettering" border="0" summary="Supplemented Rhymed Doublet">
+<tr>
+    <td>(a</td>
+</tr>
+
+<tr>
+    <td>(a-x</td>
+</tr>
+</table>
+
+<p><i>III.</i> The Rhyming Doublet. It is generally made up of two consecutive
+lines not rhyming with each other but so constructed that one of the
+lines will rhyme with one line of another Doublet similarly constructed
+and found in the same stanza.</p>
+
+<p><!-- Page 293 --><span class='pagenum'><a name="Page_293" id="Page_293">[Pg 293]</a></span></p><p><i>III a.</i> The Regular Rhyming Doublet. It is the same as our common
+interwoven rhyme and is very common among Negro Rhymes. There is one
+peculiar Interwoven Rhyme found in our collection; it is "Watermelon
+Preferred." In it the second Rhyming Doublet is divided by a kind of
+parenthetic Rhythmic Solitaire.</p>
+
+<p><i>III b.</i> The Inverted Rhyming Doublet. It is the same as our ordinary
+Close Rhyme.</p>
+
+<p>The writer had expected to find the Supplemented Rhyming Doublet among
+Negro Rhymes but peculiarly enough it does not seem to exist.</p>
+
+<p><i>IV a.</i> The Regular Rhymed Cluster. It consists of three consecutive
+lines in the same stanza which rhyme. An example is found in "Bridle Up
+a Rat," one of whose stanzas we have already quoted. It is represented
+by the lettering</p>
+
+<table class="lettering" border="0" summary="Regular Rhymed Cluster">
+<tr><td>(a</td></tr>
+<tr><td>(a</td></tr>
+<tr><td>(a</td></tr>
+</table>
+
+<p><i>IV. b.</i> The Divided Rhymed Cluster. It includes ordinary Interrupted
+Rhyme&mdash;with the lettering</p>
+
+<table class="lettering" border="0" summary="Divided Rhymed Cluster 1">
+<tr>
+<td>(a</td>
+<td rowspan="5">An example is found in the Ebo or Guinea Rhyme "Tree Frogs."</td>
+</tr>
+
+<tr><td>(a</td></tr>
+<tr><td>(b</td></tr>
+<tr><td>(a</td></tr>
+</table>
+
+<p>But in Negro Folk Rhymes two lines may divide the
+<!-- Page 294 --><span class='pagenum'><a name="Page_294" id="Page_294">[Pg 294]</a></span> Rhymed Cluster
+instead of one. An example of this is found in "Animal Fair," whose
+rhyming may be represented by the lettering</p>
+
+<table class="lettering" border="0" summary="Divided Rhymed Cluster 2">
+<tr><td>(a</td></tr>
+<tr><td>(a</td></tr>
+<tr><td>(b</td></tr>
+<tr><td>(b</td></tr>
+<tr><td>(a</td></tr>
+</table>
+
+<p><i>IV c.</i> The Supplemented Rhymed Clusters. They are well represented in
+Negro Rhymes. Some have a single supplement as in "Negroes Never Die,"
+whose rhyming is lettered</p>
+
+<table class="lettering" border="0" summary="Supplemented Rhymed Cluster 1">
+<tr><td>(a</td></tr>
+<tr><td>(a</td></tr>
+<tr><td>(a-x</td></tr>
+</table>
+
+<p>Some have double supplements as in "Frog Went a-Courting" whose rhyming
+is lettered</p>
+
+<table class="lettering" border="0" summary="Supplemented Rhymed Cluster 2">
+<tr><td>(a-x</td></tr>
+<tr><td>(a</td></tr>
+<tr><td>(a-x</td></tr>
+</table>
+
+<p>Now Negroes did not retain, permanently, meaningless words in their
+Rhymes. The Rhymes themselves were "calls" and had meaning. The
+"sponses," such as "Holly Dink," "Jing-Jang," "Oh, fare you well,"
+"'Tain't gwineter rain no more," etc., that had no meaning, died year
+after year and new "sponses" and songs came into existence.</p>
+
+<p>Let us see what these permanently retained seemingly senseless
+Supplements mean.</p>
+
+<p><!-- Page 295 --><span class='pagenum'><a name="Page_295" id="Page_295">[Pg 295]</a></span></p><p>In "Frog Went a-Courting" we see the Supplement "uh-huh! uh-huh!" It is
+placed in the midst to keep vividly before the mind of the listener the
+ardent singing of the frog in Spring during his courtship season, while
+we hear a recounting of his adventures. It is to this Simple Rhyme what
+stage scenery is to the Shakespearian play or the Wagnerian opera. It
+seems to me (however crude his verse) that the Negro has here suggested
+something new to the field of poetry. He suggests that, while one
+recounts a story or what not, he could to advantage use words at the
+same time having no bearing on the story to depict the surroundings or
+settings of the production. The gifted Negro poet, Paul Laurence Dunbar,
+has used the supplement in this way in one of his poems. The poem is
+called "A Negro Love Song." The little sentence, "Jump back, Honey, jump
+back," is thrown in, in the midst and at the end of each stanza.
+Explaining it, the following is written by a friend, at the heading of
+this poem:</p>
+
+<p>"During the World's Fair he (Mr. Dunbar) served for a short time as a
+hotel waiter. When the Negroes were not busy they had a custom of
+congregating and talking about their sweethearts. Then a man with a tray
+would come along and, as the<!-- Page 296 --><span class='pagenum'><a name="Page_296" id="Page_296">[Pg 296]</a></span> dining-room was frequently crowded, he
+would say when in need of passing room, 'Jump back, Honey, jump back.'
+Out of the commonplace confidences, he wove the musical little
+composition&mdash;'A Negro Love Song.'"</p>
+
+<p>Now, this line, "Jump back, Honey, jump back," was used by Mr. Dunbar to
+recall and picture before the mind the scurrying hotel waiter as he
+bragged to his fellows of his sweetheart and told his tales of
+adventure. It is the "stage scenery" method used by the slave Negro
+verse maker. Mr. Dunbar uses this style also in "A Lullaby,"
+"Discovered," "Lil' Gal" and "A Plea." Whether he used it knowingly in
+all cases, or whether he instinctively sang in the measured strains of
+his benighted ancestors, I do not know.</p>
+
+<p>The Supplement was used in another way in Negro Folk Dance Rhymes. I
+have already explained how the Rhymes were used in a general way in the
+Dance. Let us glance at the Dance Rhyme "Juba" with its Supplement,
+"Juba! Juba!" to illustrate this special use of the Supplement. "Juba"
+itself was a kind of dance step. Now let us imagine two dancers in a
+circle of men to be dancing while the following lines are being patted
+and repeated:</p>
+
+<div class="poem"><div class="stanza">
+<!-- Page 297 --><span class='pagenum'><a name="Page_297" id="Page_297">[Pg 297]</a></span>
+<span class="i0">"Juba Circle, raise de latch,<br /></span>
+<span class="i0">Juba dance dat Long Dog Scratch, Juba! Juba!"<br /></span>
+</div></div>
+
+<p>While this was being patted and repeated, the dancers within the circle
+described a circle with raised foot and ended doing a dance step called
+"Dog Scratch." Then when the Supplement "Juba! Juba!" was said the whole
+circle of men joined in the dance step "Juba" for a few moments. Then
+the next stanza would be repeated and patted with the same general order
+of procedure.</p>
+
+<p>The Supplement, then, in the Dance Rhyme was used as the signal for all
+to join in the dance for a while at intervals after they had witnessed
+the finished foot movements of their most skilled dancers.</p>
+
+<p>The Supplement was used in a third way in Negro Rhymes. This is
+illustrated by the Rhyme, "Anchor Line" where the Supplement is "Dinah."
+This was a Play Song and was commonly used as such, but the Negro boy
+often sang such a song to his sweetheart, the Negro father to his child,
+etc. When such songs were sung on other occasions than the Play, the
+name of the person to whom it was being sung was often substituted for
+the name Dinah. Thus it would be sung</p>
+
+<div class="poem"><div class="stanza">
+<!-- Page 298 --><span class='pagenum'><a name="Page_298" id="Page_298">[Pg 298]</a></span>
+<span class="i0">"I'se gwine out on de Anchor Line&mdash;Mary," etc.<br /></span>
+</div></div>
+
+<p>The Supplement then seems to have been used in some cases to broaden the
+scope of direct application of the Rhyme.</p>
+
+<p>The last use of the Supplement to be mentioned is closely related in its
+nature to the "stage scenery" use already mentioned. This kind of
+Supplement is used to depict the mental condition or attitude of an
+individual passing through the experiences being related. Good examples
+are found in "My First and My Second Wife" where we have the
+Supplements, "Now wusn't I sorrowful in mind," etc.; and in "Stinky
+Slave Owners" with its Supplements "Eh-Eh!" "Sho-sho!" etc.</p>
+
+<p>The Negro Rhymes here and there also have some kind of little
+introductory word or line to each stanza. I consider this also something
+peculiar to Negro Rhyme. I have named these little introductory words or
+sentences the "Verse Crown." They are receivers into which verses are
+set and serve as dividing lines in the production. As the reader knows,
+the portion of the ring which receives the gems and sets them into a
+harmonious whole is called the "Crown." Having borrowed the terms
+Solitaire, Doublet, etc., for the verses, the name for<!-- Page 299 --><span class='pagenum'><a name="Page_299" id="Page_299">[Pg 299]</a></span> these
+introductory words and lines automatically became "Verse Crown."</p>
+
+<p>Just as I have figuratively termed the Supplements in one place "stage
+scenery," so I may with equal propriety term the "Verse Crown" the
+"rise" or the "fall" of the stage curtain. They separate the little Acts
+of the Rhymes into scenes. As an example read the comic little Rhyme "I
+Walked the Roads." The word "Well" to the first stanza marks the raising
+of the curtain and we see the ardent Negro boy lover nonsensically
+prattling to the one of his fancy about everything in creation until he
+is so tired that he can scarcely stand erect. The curtain drops and
+rises with the word "Den." In this, the second scene, he finally gets
+around to the point where he makes all manner of awkward protestations
+of love. The hearer of the Rhyme is left laughing, with a sort of
+satisfactory feeling that possibly he succeeded in his suit and possibly
+he didn't. Among the many examples of Rhymes where verse crowns serve as
+curtains to divide the Acts into scenes may be mentioned "I Wish I Was
+an Apple," "Rejected by Eliza Jane," "Courtship," "Plaster," "The Newly
+Weds," and "Four Runaway Negroes."</p>
+
+<p>Though the stanzas in Negro Rhymes commonly have just one kind of
+rhyming, in some cases as many<!-- Page 300 --><span class='pagenum'><a name="Page_300" id="Page_300">[Pg 300]</a></span> as three of the systems of rhyming are
+found in one stanza. I venture to suggest the calling of those with one
+system "Simple Rhymed Stanzas;" those with two, "Complex Rhymed
+Stanzas;" those with more than two "Complicated Complex Rhymed Stanzas."</p>
+
+<p>I next call attention to the seeming parodies found occasionally among
+Negro Rhymes. The words of most Negro parodies are such that they are
+not fit for print. We have recorded three: "He Paid Me Seven," Parody on
+"Now I Lay Me Down to Sleep," and Parody on "Reign, Master Jesus,
+Reign." We can best explain the nature of the Negro Parody by taking
+that beautiful and touching well-known Jubilee song, "Steal Away to
+Jesus" and briefly recounting the story of its origin. Its history is
+well known. We hope the reader will not be disappointed when we say that
+this song is a parody in the sense in which Negroes composed and used
+parodies.</p>
+
+<p>The words around which the whole song ranges itself are "Steal away to
+Jesus, I hain't got long to stay here." Now the slave Negroes on the far
+away plantations of the South occasionally met in the dead of night in
+some secluded lonely spot for a religious meeting even when they had
+been forbidden to do so by their masters. So they made up this song,<!-- Page 301 --><span class='pagenum'><a name="Page_301" id="Page_301">[Pg 301]</a></span>
+"Steal away to Jesus, I hain't got long to stay here." Late in the
+afternoons when the slaves on any plantation sang it, it served as a
+notice to slaves on other plantations that a secret religious meeting
+was to be held that night at the place formerly mutually agreed upon for
+meetings.</p>
+
+<p>Now here is where the parody comes in under the Negro standard: To the
+slave master the words meant that his good, obedient slaves were only
+studying how to be good and to get along peaceably, because they
+considered, after all, that their time upon earth was short and not of
+much consequence; but to the listening Negro it meant both a
+notification of a meeting and slaves disobedient enough to go where they
+wanted to go. To the listening master it meant that the Negro was
+thinking of what a short time it would be before he would die and leave
+the earth, but to the listening slaves it meant that he was thinking of
+how short a time it would be before he left the cotton field for a
+pleasant religious meeting. All these meanings were truly literally
+present but the meaning apparent depended upon the viewpoint of the
+listener. It was composed thus, so that if the master suspected the
+viewpoint of the slave hearers, the other viewpoint, intended for him,
+might be held out in strong relief.</p>
+
+<p><!-- Page 302 --><span class='pagenum'><a name="Page_302" id="Page_302">[Pg 302]</a></span></p><p>Now let us consider the parodies recorded in our Collection. The Parody
+on the beautiful little child prayer, "Now I lay me down to sleep" is
+but the bitter protest from the heart of the woman who, after putting
+the little white children piously repeating this child prayer, "Now I
+lay me down to sleep," in their immaculate beds, herself retired to a
+vermin infested cabin with no time left for cleaning it. It was a tirade
+against the oppressor but the comic, good-natured "It means nothing" was
+there to be held up to those calling the one repeating it to task. The
+parody on "Reign, Master Jesus, Reign!" when heard by the Master meant
+only a good natured jocular appeal to him for plenty of meat and bread,
+but with the Negro it was a scathing indictment of a Christian earthly
+master who muzzled those who produced the food. "He Paid Me Seven" is a
+mock at the white man for failing to practice his own religion but the
+clown mask is there to be held up for safety to any who may see the
+<i>real</i> side and take offense.</p>
+
+<p>Slave parodies, then, are little Rhymes capable of two distinct
+interpretations, both of which are true. They were so composed that if a
+slave were accused through one interpretation, he could and would
+truthfully point out the other meaning to the accuser and thus escape
+serious trouble.</p>
+
+<p><!-- Page 303 --><span class='pagenum'><a name="Page_303" id="Page_303">[Pg 303]</a></span></p><p>Under all the classes of Negro Rhymes, with the exception of the one
+Marriage Ceremony Rhyme, there were those which were sung and played on
+instruments. Since instrumental music called into existence some of the
+very best among Negro Rhymes it seems as if a little ought to be said
+concerning the Negro's instruments. Banjos and fiddles (violins) were
+owned only limitedly by antebellum Negroes. Those who owned them
+mastered them to such a degree that the memory of their skill will long
+<ins class="correction" title="original reads: linger,">linger.</ins> These instruments are familiar and need no discussion.</p>
+
+<p>Probably the Negro's most primitive instrument, which he could call his
+very own, was "Quills." It is mentioned in the story, "Brother Fox,
+Brother Rabbit, and King Deer's Daughter" which I have already quoted at
+some length. If the reader will notice in this story he will see, after
+the singing of the first stanza by the rabbit and fox, a description in
+these words, "Den de quills and de tr'angle, dey come in, an' den Br'er
+Rabbit pursue on wid de call." Here we have described in the Negro's own
+way the long form of instrumental music composition which we have
+hitherto discussed, and "quills" and "tr'angles" are given as the
+instruments.</p>
+
+<p>In my early childhood I saw many sets of "Quills." They were short reed
+pipes, closed at one<!-- Page 304 --><span class='pagenum'><a name="Page_304" id="Page_304">[Pg 304]</a></span> end, made from cane found in our Southern
+canebrakes. The reed pipes were made closed at one end by being so cut
+that the bottom of each was a node of the cane. These pipes were
+"whittled" square with a jack knife and were then wedged into a wooden
+frame, and the player blew them with his mouth. The "quills," or reed
+pipes, were cut of such graduated lengths that they constituted the
+Negro's peculiar music Scale. The music intervals though approximating
+those of the Caucasian scale were not the same. At times, when in a
+reminiscent humor, I hum to myself some little songs of my childhood. On
+occasions, afterwards, I have "picked out" some of the same tunes on the
+piano. When I have done this I have always felt like giving its
+production on the piano the same greeting that I gave a friend who had
+once worn a full beard but had shaved. My greeting was "Hello, friend A;
+I came near not knowing you."</p>
+
+<div class="figcenter" style="width: 239px;">
+<span class="caption">A LITTLE SET OF QUILLS</span>
+<img src="images/fig1quills.png" width="239" height="400" alt="" title="" />
+<span class="caption smcap">Figure I</span>
+</div>
+
+<p>"Quills" were made in two sets. They were known as a "Little Set of
+Quills" and a "Big Set of Quills." There were five reeds in the Little
+Set but I do not know how many there were in a Big Set. I think there
+were more than twice as many as in a Little Set. I have inserted a cut
+of a Little Set of "Quills." (Figure I.) The fact that I<!-- Page 305 --><span class='pagenum'><a name="Page_305" id="Page_305">[Pg 305]</a></span> was in the
+class of "The Little Boy Who Couldn't Count Seven" when I saw and
+handled quills makes it necessary to explain how it comes that I am sure
+of the number of "Quills" in a "Little Set." I recall the intricate tune
+that could be played only by the performer's putting in the lowest
+pitched note with his voice. I am herewith presenting that tune, and
+"blocking out" the voice note there are only five notes left, thus I
+know there were five "Quills" in the set. I thought a tune played on a
+"Big Set"<!-- Page 306 --><span class='pagenum'><a name="Page_306" id="Page_306">[Pg 306]</a></span> might be of interest and so I am giving one of those also. If
+there be those who would laugh at the crudity of "Quills" it might not
+be amiss to remember in justice to the inventors that "Quills"
+constitute a pipe organ in its most rudimentary form.</p>
+
+<h5>TUNE PLAYED ON A LITTLE SET OF QUILLS</h5>
+<div class="figcenter" style="width: 452px;">
+<img src="images/littlequills.png" width="452" height="284" alt="Tune for Little Quills Musical Notation" title="" />
+</div>
+
+<p class="center"><a href="music/321a-littlequills.midi">[Listen]</a></p>
+
+<h5>TUNE PLAYED ON A BIG SET OF QUILLS</h5>
+<div class="figcenter" style="width: 450px;">
+<img src="images/bigquills.png" width="450" height="563" alt="Tune for Big Quills Musical Notation" title="" />
+</div>
+
+<p class="center"><a href="music/321b-322-bigquills.midi">[Listen]</a></p>
+
+<p><!-- Page 307 --><span class='pagenum'><a name="Page_307" id="Page_307">[Pg 307]</a></span>
+The "tr'angle" or triangle mentioned as the other primitive instrument
+used by the rabbit and fox in serenading King Deer's family was only the
+U-shaped iron clives which with its pin was used for hitching horses to
+a plow. The antebellum Negro often suspended this U-shaped clives by a
+string and beat it with its pin along with the playing on "Quills" much
+after the order that a drum is beaten. These crude instruments produced
+music not of unpleasant<!-- Page 308 --><span class='pagenum'><a name="Page_308" id="Page_308">[Pg 308]</a></span> strain and inspired the production of some of
+the best Negro Rhymes.</p>
+
+<p>I would next consider for a little the origin of the subject matter
+found in Negro Rhymes. When the Negro sings "Master Is Six Feet One Way"
+or "The Alabama Way" there is no question where the subject matter came
+from. But when he sings of animals, calling them all "Brother" or
+"Sister," and "Bought Me a Wife," etc., the origin of the conception and
+subject matter is not so clear. I now come to the question: From whence
+came such subject matter?</p>
+
+<p>First of all, Mr. Joel Chandler Harris, in his introduction to "Nights
+with Uncle Remus," has shown that the Negro stories of our country have
+counterparts in the Kaffir Tales of Africa. He therefore leaves strong
+grounds for inference that the American Negroes probably brought the dim
+outlines of their Br'er Rabbit stories along with them when they came
+from Africa. I have already pointed out that some of the Folk Rhymes
+belong to these Br'er Rabbit stories. Since the origin of the subject
+matter of one is the origin of the subject matter of the other, it
+follows that we are reasonably sure of the origin of such Folk Rhymes
+because of the "counterpart" data presented by Mr. Harris.<!-- Page 309 --><span class='pagenum'><a name="Page_309" id="Page_309">[Pg 309]</a></span> But I have
+been fortunate enough recently to secure direct evidence that one of the
+American Negro stories recorded by Mr. Harris came from Africa.</p>
+
+<p>While collecting our Rhymes, I asked Dr. C. C. Fuller of the South
+African Mission, at Chikore, Melsetter, Rhodesia, Africa, for an African
+Rhyme in Chindau. I might add parenthetically: I have never seen
+pictures of a cruder or more primitive people than these people who
+speak Chindau. He obtained and sent me the Rhyme "The Turkey Buzzard"
+found in our Foreign Section. It was given to him by the Reverend J. E.
+Hatch of the South African General Mission. Along with this rhyme came
+the following in his kind and obliging letter: "We thought the story of
+how the Crocodile got its scaly skin might be of interest also":</p>
+
+<p>"Why the Crocodile Has a Hard, Scaly Skin."</p>
+
+<p>"Long ago the Crocodile had a soft skin like that of the other animals.
+He used to go far from the rivers and catch animals and children and by
+so doing annoyed the people very much. So one day when he was far away
+from water, they surrounded him and set the grass on fire on every side,
+so that he could not escape to the river without passing through the
+fire. The fire overtook him and scorched and seared his back, so that
+from that day<!-- Page 310 --><span class='pagenum'><a name="Page_310" id="Page_310">[Pg 310]</a></span> his skin has been hard and scaly, and he no longer goes
+far from the rivers."</p>
+
+<p>This is about as literal an outline of the American Negro story "Why the
+Alligator's Back is Rough" as one could have. The slight difference is
+that the direct African version mixes people in with the plot. This
+along with Mr. Harris's evidences practically establishes the fact that
+the Negro animal story outlines came with the Negroes themselves from
+Africa and would also render it practically certain that many animal
+rhymes came in the same way since these Rhymes in many cases accompany
+the stories.</p>
+
+<p>Then there are Rhymes, not animal Rhymes, which seem to carry plainly in
+their thought content a probable African origin. In the Rhyme, "Bought
+Me a Wife," there is not only the mentioning of buying a wife, but there
+is the setting forth of feeding her along with guineas, chickens, etc.,
+out under a tree. Such a conception does not fit in with American slave
+life but does fit into widely prevailing conditions found in Africa.</p>
+
+<p>Read the last stanza of "Ration Day," where the slave sings of going
+after death to a land where there are trees that bear fritters and where
+there are ponds of honey. Surely there is nothing in America to<!-- Page 311 --><span class='pagenum'><a name="Page_311" id="Page_311">[Pg 311]</a></span> suggest
+such thoughts, but such thoughts might have come from Africa where
+natives gather their fruit from the bread tree and dip it into honey
+gathered from the forests.</p>
+
+<p>Read "When My Wife Dies." This is a Dance Rhyme Song. When the Rhymer
+chants in seemingly light vein in our hearing that he will simply get
+another wife when his wife dies, we turn away our faces in disgust, but
+we turn back almost amazed when he announces in the immediately
+succeeding lines that his heart will sorrow when she is gone because
+none better has been created among women. The dance goes on and we
+almost see grim Death himself smile as the Rhymer closes his Dance Song
+with directions not to bury him deep, and to put bread in his hand and
+molasses at his feet that he may eat on the way to the "Promised Land."</p>
+
+<p>If you had asked a Negro boy in the days gone by what this Dance Rhyme
+Song meant, he would have told you that he didn't know, that it was
+simply an old song he had picked up from somewhere. Thus he would go
+right along thoughtlessly singing or repeating and passing the Rhyme to
+others. The dancing over the dead and the song which accompanied it
+certainly had no place in American life. But do you ask where there was
+such a place? Get Dr.<!-- Page 312 --><span class='pagenum'><a name="Page_312" id="Page_312">[Pg 312]</a></span> William H. Sheppard's "Presbyterian Pioneers in
+Congo" and read on page 136 the author's description of the behavior of
+the Africans in Lukenga's Land on the day following the death of one of
+their fellow tribesmen. It reads in part as follows: "The next day
+friends from neighboring villages joined with these and in their best
+clothes danced all day. These dances are to cheer up the bereaved family
+and to run away evil spirits." Dr. Sheppard also tells us that in one of
+the tribes in Africa where he labored, a kind of funnel was pushed down
+into the grave and down this funnel food was dropped for the deceased to
+feed upon. I have heard from other missionaries to other parts of Africa
+similar accounts. The minute you suppose the Rhyme "When My Wife Dies"
+to have had its origin in Africa, the whole thought content is
+explained. Of course the stanza concerning the pickling of the bones in
+alcohol is probably of American origin but I doubt not that the thought
+of the "key verses" came from Africa.</p>
+
+<p>These Rhymes whose thought content I have just discussed I consider only
+illustrative of the many Rhymes whose thought drift came from Africa.</p>
+
+<p>Many of the Folk Rhymes fall under the heading commonly denominated
+"Nature Rhymes." By actual<!-- Page 313 --><span class='pagenum'><a name="Page_313" id="Page_313">[Pg 313]</a></span> count more than a hundred and fifty recorded
+by the writer have something in their stanzas concerning some animal. I
+do not think the makers of these Rhymes were makers of Nature Rhymes in
+the ordinary sense of the term. It would really be more to the point to
+call them "Animal Rhymes" instead of "Nature Rhymes." With the exception
+of about a half dozen Rhymes which mention some kind of tree or plant,
+all the other Rhymes with Nature allusions pertain to animals. The Uncle
+Remus stories recorded by Joel Chandler Harris are practically all
+animal stories. I have said in my foregoing discussion that the Negro
+communed with Nature and she gave him Rhymes for amusement. This is
+true, but when we say "communed" we simply express a vague intangible
+something the existence of which lives somewhere in a kind of mental
+fiction.</p>
+
+<p>Though I was brought up with the Rhymes I make no pretensions that I
+really know why so many of them were made concerning the animal world. I
+have heard no Negro tradition on this point. I have thought much on it
+and I now beg the reader to walk with me over the peculiar paths along
+which my mind has swept in its search for the truth of this mystery of
+Animal Rhyme.</p>
+
+<p>Before the great American Civil War the Negro<!-- Page 314 --><span class='pagenum'><a name="Page_314" id="Page_314">[Pg 314]</a></span> slave preachers could
+not, as a class, read and they were taught their Bible texts by white
+men, commonly their owners. The texts taught them embraced most of the
+central truths of our Bible. The subjects upon which the antebellum
+Negro preached, however, were comparatively few. Of course a very few
+antebellum Negro preachers could read. In case of these individuals
+their texts and subjects were scarcely limited by the "lids" of the
+Bible. I heard scores of these men preach in my childhood days.</p>
+
+<p>The following subjects embrace about all those known to the average of
+these slave preachers. 1. Joshua. 2. Samson. 3. The Ark. 4. Jacob. 5.
+Pharaoh and Moses. 6. Daniel. 7. Ezekiel&mdash;vision of the valley of dry
+bones. 8. Judgment Day. 9. Paul and Silas in jail. 10. Peter. 11. John's
+vision on the Isle of Patmos. 12. Jesus Christ&mdash;his love and his
+miracles. 13. "Servants, obey your Masters."</p>
+
+<p>Now it is strange enough that the ignorant slave, while adopting his
+Master's religious topics, refused to adopt his hymns and proceeded to
+make his own songs and to cluster all these songs in thought around the
+Bible subjects with which he was acquainted. If the reader will get
+nearly any copy of Jubilee Songs he will find that the larger number
+group themselves<!-- Page 315 --><span class='pagenum'><a name="Page_315" id="Page_315">[Pg 315]</a></span> about Jesus Christ and the others cluster about Moses,
+Daniel, Judgment Day, etc., subjects partially known and handled by the
+preachers in their sermons. There is just one exception. There is no
+Jubilee Song on "Servants, obey your Masters." We shall leave for the
+"feeble" imagination of the reader the reason why. The Negroes
+practically left out of their Jubilee Songs, Jeremiah, Job, Abraham,
+Isaac, Solomon, Samuel, Ezra, Mark, Luke, John, James, The Psalms, The
+Proverbs, etc., simply because these subjects did not fall among those
+taught them as preaching subjects.</p>
+
+<p>Now let us consider for a while the Negro's religion in Africa. Turning
+to Bettanny's "The World's Religions" we learn the following facts about
+aboriginal African worship.</p>
+
+<p>The Bushmen worshiped a Caddis worm and an antelope (a species of deer).
+The Damaras believed that they and all living creatures descended from a
+kind of tree and they worshiped that tree. The Mulungu worshiped
+alligators and lion-shaped idols. The Fantis considered snakes and many
+other animals messengers of spirits. The Dahomans worshiped snakes, a
+silk tree, a poison tree and a kind of ocean god whom they called Hu.</p>
+
+<p>Now turning our attention to Negro Folk<!-- Page 316 --><span class='pagenum'><a name="Page_316" id="Page_316">[Pg 316]</a></span> Rhymes we find them clustering
+around the animals of aboriginal African Folk worship. The Negro stories
+recorded by Mr. Harris center around these animals also. In the Folk
+Rhyme "Walk Tom Wilson" our hero steps on an alligator. In "The Ark" the
+lion almost breaks out of his enclosure of palings. In one rhyme the
+snake is described as descended from the Devil and then the Devil
+figures prominently in many Rhymes. Then we have "Green Oak Tree
+Rocky-o" answering to the tree worship.</p>
+
+<p>I have placed in our collection of Rhymes a small foreign section
+including African Rhymes. I have recorded precious few but those few are
+enough to show two things. (1) That the Negro of savage Africa has the
+rhyme-making habit and probably has always had it, and thus the American
+Negro brought this habit with him to America. (2) That a small handful
+from darkest Africa contains stanzas on the owl, the frog, and the
+turkey buzzard just like the American rhymes.</p>
+
+<p>Knowing that the Negro made rhymes in Africa, and knowing that he
+centered his Jubilee Song words around his American Christian religion,
+is it not reasonable to suppose that he centered his secular or African
+Rhymes around his African religion? He must have done so unless he
+changed<!-- Page 317 --><span class='pagenum'><a name="Page_317" id="Page_317">[Pg 317]</a></span> all his rhyme-making habits after coming to America, for he
+certainly clustered his American verse largely around his religion.
+Assuming this to be true the large amount of animal lore in Negro rhyme
+and story is at once explained.</p>
+
+<p>Possibly the greatest hindrance to one's coming to this conclusion is
+the fact that the Rabbit and some other animals found in Negro rhyme and
+story do not appear in the records among those worshiped by aboriginal
+Africans. The known record of the Africans' early religion covers only a
+very few pages. Christians have not been willing to spend any time to
+speak of in investigating the religions of the primitive and the lowly.
+Thus if these animals were widely worshiped it would not be strange if
+we should never have heard of it. Let us consider what is known,
+however.</p>
+
+<p>Taking up the matter of the rabbit Mr. John McBride, Jr., had a very
+fine and lengthy discussion on "Br'er Rabbit in the Folk Tales of the
+Negro and other Races" in <i>The Sewanee Review</i>, April, 1911. On page 201
+of that journal's issue we find these words: "Among the Hottentots, for
+example, there is a story in which the hare appears in the moon and of
+which several versions are extant. The story goes that the moon sent the
+hare to the earth<!-- Page 318 --><span class='pagenum'><a name="Page_318" id="Page_318">[Pg 318]</a></span> to inform men that, as she died away and rose again,
+so should all men die and again come to life," etc. I drop the story
+here because so much of it suffices my purpose. It brings out the fact
+that the African here had probably truly considered the Rabbit as a
+messenger of the moon. Now the fact that the Hottentots were thus
+talking in lore of receiving messages concerning immortality from the
+moon means there must have been at least a time in their history when
+they considered the Moon a kind of super-being, a kind of god.</p>
+
+<p>I quote again from Dr. Sheppard's "Presbyterian Pioneers in Congo," page
+113. "King Lukenga offers up a sacrifice of a goat or lamb on every new
+moon. The blood is sprinkled on a large idol in his own fetich house, in
+the presence of all his counselors. This sacrifice is for the
+healthfulness of all the King's country, for the crops," etc.</p>
+
+<p>I think after considering the foregoing one will see that there are
+those of Africa who connect their worship with the moon. We learn also
+that there are those who claim the rabbit to be the moon's messenger.
+From this, if we should accept the theory for Animal Rhymes advanced, we
+would easily see why the rabbit as a messenger of a god or gods would
+figure so largely in Rhyme and in story. We<!-- Page 319 --><span class='pagenum'><a name="Page_319" id="Page_319">[Pg 319]</a></span> also would easily see how
+and why as a messenger of a god he would become "Brother Rabbit." If one
+will read the little Rhyme "Jaybird" he will notice that the rhymer
+places the intelligence of the rabbit above his own. Our theory accounts
+for this.</p>
+
+<p>I would next consider the frog, but I imagine I hear the reader saying:
+"That is not a beginning. How about your bear, terrapin, wolf, squirrel,
+etc.?"</p>
+
+<p>Seeing that I am faced by so large an array of animals, I beg the reader
+to walk with me through just one more little path of thought and with
+his consent I shall leave the matter there.</p>
+
+<p>We see, in two of our African Rhymes, lines on a buzzard and an owl; yet
+these African natives do not worship these birds. The American Negro
+children of my childhood repeated Folk Rhymes concerning the rabbit, the
+fox, etc., without any thought whatever of worshiping them. These
+American children had received the whole through dim traditional rhymes
+and stories and engaged in passing them on to others without any special
+thought. The uncivilized and the unlettered hand down everything by word
+of mouth. Religion, trades, superstition, medicine, sense, and nonsense
+all flow in the same stream and from this stream all is drunk down
+without question. If therefore the Negro's rhyme-clustering<!-- Page 320 --><span class='pagenum'><a name="Page_320" id="Page_320">[Pg 320]</a></span> habit in
+America was the same as it had ever been and the centering of rhymes
+about animals is due to a former worship of them in Africa, the verses
+would include not only the animals worshiped in modern Africa but in
+ancient Africa. The verses would take in animals included in any
+accepted African religion antedating the comparatively recent religions
+found there.</p>
+
+<p>The Bakuba tribe have a tradition of their origin. Quoting from Dr.
+Sheppard's book again, page 114, we have the following: "From all the
+information I can gather, they (the Bakuba) migrated from the far North,
+crossed rivers and settled on the high table land." Here is one
+tradition, standing as a guide post, with its hand pointing toward
+Egypt. A one fact premise practically never forms a safe basis for a
+conclusion, but when we couple this tradition with the fact that, so far
+as we know, men originated in Southwest Asia and therefore probably came
+into Africa by way of the Isthmus of Suez, I think the case of the
+Bakuba hand pointing toward a near Egyptian residence a strong one. Now
+turn to your Encyclopedia Britannica, Vol. X, ninth edition, with
+American revisions and additions, to the article on "Glass," page 647.
+Near the bottom of the second column on that page we read: "The<!-- Page 321 --><span class='pagenum'><a name="Page_321" id="Page_321">[Pg 321]</a></span>
+Phoenicians probably derived this knowledge of the art (of glass making)
+from Egypt. * * * It seems probable that the earliest products of the
+industry of Phoenicia in the art of glass making are the colored beads
+which have been found in almost all parts of Europe, in India, and other
+parts of Asia, and in <i>Africa</i>. The "aggry" beads so much valued by the
+<i>Ashantees and other natives</i> of that part of Africa which lies near the
+Gold Coast, have <i>probably</i> the same origin. * * * Their wide dispersion
+may be referred with much probability to their having been objects of
+barter between the Phoenician merchants and the barbarous inhabitants of
+the various countries with which they traded." Here are evidences, then,
+that the African in his prehistoric days traded with somebody who
+bartered in beads of Phoenician or Egyptian make. I say Egyptian or
+Phoenician because if the Phoenicians got this art from the Egyptians I
+think it would be very difficult for those who lived thousands of years
+afterward to be sure in which country a specific bead was made, the art
+as practiced by one country being a kind of copy of the art as practiced
+in the other country. With the historic record that the Phoenicians were
+the great traders of the Ancient World our writers attributed the
+carrying of the beads into Africa, among the natives,<!-- Page 322 --><span class='pagenum'><a name="Page_322" id="Page_322">[Pg 322]</a></span> to the
+Phoenicians. Without questioning these time-honored conclusions, we do
+know that Egyptian caravans still make journeys into the interior of
+Africa for the purpose of trade. Shall we think this trading practice on
+the part of Egypt in Africa one of recent origin or probably one that
+runs back through the centuries? I see no reason for believing this
+trading custom to be other than an ancient one. If the ancient Egyptians
+traded with the surrounding Africans and these Africans gradually
+migrated South, as is stated in the Bakuba tradition, the whole matter
+of how all kinds of animals got mixed into Negro Folk Rhymes by custom
+becomes clear. It also will explain how animal worship got scattered
+throughout Africa, for it is the unbroken history of the world that
+traders of a race superior in attainment always somehow manage to carry
+along their religion to the race inferior in attainment. The religious
+emissaries generally follow along in the wake of the traders. If we make
+the assumption, on the foregoing grounds, that the very ancient African
+Negro got in touch with the religion of Ancient Egypt, then the
+appearance of the frog, birds, etc., in Negro Rhyme is explained, for if
+we read the lists of animal gods of Ancient Egypt and the animal states
+through which spirits were<!-- Page 323 --><span class='pagenum'><a name="Page_323" id="Page_323">[Pg 323]</a></span> supposed to pass, we have no trouble finding
+the list of animals extolled in Negro rhyme and story.</p>
+
+<p>If Negro Rhyme has always centered about Negro religion, then when the
+Negro was brought to America and began changing his religion, he should
+have had some songs or rhymes on the dividing line between the old and
+the new. In other words, there ought to be connecting links between
+"secular" Folk Rhymes and Jubilee Songs, songs that by nature partake of
+both types. This must happen in order to be in accord with the law of
+the presence of connecting links where evolution produces a new type
+from an old one. By using the procedure under Mendel's law of mating
+like descendants from a cross between two and by eliminating those who
+do not reproduce constant to the type which we are trying to produce, we
+can produce a new and constant type in the third succeeding generation
+of descendants.</p>
+
+<p>Now the Negro slave turned quickly in America from heathenism to
+Christianity. This was accomplished through white Christians correcting
+and eliminating all thoughts and productions which hovered on the border
+line between heathen ideals and Christianity. They used the Mendelian
+procedure of eliminating all crosses that did not give a product with
+Christian characteristics and thus necessarily<!-- Page 324 --><span class='pagenum'><a name="Page_324" id="Page_324">[Pg 324]</a></span> eliminated Rhymes or
+songs of the connecting link type. They did a good thorough job but the
+writer believes he sees two connecting links that escaped their
+sensitive ears and sharp eyes. They are Jubilee songs; one is "Keep
+inching along like a poor inch worm, Jesus will come by-and-by," the
+other is "Go chain the lion down before the Heaven doors close."</p>
+
+<p>The reader will recall that I have already shown that the worm and the
+lion were connected with native African worship. Of course we all know
+quite well that a "Caddis worm" is not an "Inch worm," but for a man
+trying to turn from the old to the new, from idolatry to Christianity, a
+closer relation than this might not be very comfortable neutral ground.</p>
+
+<p>The following Folk Rhymes found in our collection might also pass for
+connecting links: "Jawbone," "Outrunning the Devil," "How to Get to
+Glory Land," "The Ark," "Destinies of Good and Bad Children," "How to
+Keep or Kill the Devil," "Ration Day," and "When My Wife Dies." The
+superstitions of the Negro Rhymes are possibly only fossils left in one
+way or another by ancient native African worship.</p>
+
+<p>In a few Rhymes the vice of stealing is either<!-- Page 325 --><span class='pagenum'><a name="Page_325" id="Page_325">[Pg 325]</a></span> laughed at, or
+apparently laughed at. Such Rhymes carry on their face a strictly
+American slave origin. An example is found in "Christmas Turkey." If one
+asks how I know its origin to be American, the answer is that the native
+African had no such thing as Christmas and turkeys are indigenous to
+America. In explanation of the origin of these "stealing" Rhymes I would
+say that it was never the Negro slave's viewpoint that his hard-earned
+productions righteously belonged to another. His whole viewpoint in all
+such cases, where he sang in this kind of verse, is well summed up in
+the last two lines of this little Rhyme itself:</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"I tuck mysef to my tucky roos',<br /></span>
+<span class="i0">An' I brung <i>my</i> tucky home."<br /></span>
+</div></div>
+
+<p>To the Negro it was his turkey. This was the Negro slave view and
+accounts for the origin and evolution of such verse. We leave to others
+a fair discussion of the ethics and a righteous conclusion; only asking
+them in fairness to conduct the discussion in the light of slave
+conditions and slave surroundings.</p>
+
+<p>In a few of the Folk Rhymes one stanza will be found to be longer than
+any of the others. Now as to the origin of this, in the case of those
+sung whose tunes I happen to know, the long stanza was used<!-- Page 326 --><span class='pagenum'><a name="Page_326" id="Page_326">[Pg 326]</a></span> as a kind
+of chorus, while the other stanzas were used as song "verses." I
+therefore think this is probably true in all cases. The reader will note
+that the long stanza is written first in many cases. This is because the
+Negro habitually begins his song with the Chorus, which is just the
+opposite to the custom of the Caucasian who begins his ordinary songs
+with the verse. This appears then to be the possible genesis of stanzas
+of unequal length.</p>
+
+<p>I have written this little treatise on the use, origin, and evolution of
+the Negro Rhyme with much hesitation. I finally decided to do it only
+because I thought a truthful statement of fact concerning Negro Folk
+Rhymes might prove a help to those who are expert investigators in the
+field of literature and who are in search of the origin of all Folk
+literature and finally of all literature. The Negro being the last to
+come to the bright light of civilization has given or probably will give
+the last crop of Folk Rhymes. Human processes being largely the same, I
+hope that my little personal knowledge of the Negro Rhymes may help
+others in the other larger literary fields.</p>
+
+<p>I am hoping that it may help and I am penning the last strokes to record
+my sincere desire that it may in no way hinder.</p>
+
+<p><!-- Page 327 --><span class='pagenum'><a name="Page_327" id="Page_327">[Pg 327]</a></span></p>
+<h2>GENERAL INDEX</h2>
+
+<h3>Part I</h3>
+
+<ul>
+<li>A. B. C.,                                          <a href="#Page_154">154</a></li>
+<li>Alabama Way, The,                                  <a href="#Page_164">164</a></li>
+<li>Anchor Line,                                        <a href="#Page_87">87</a></li>
+<li>Animal Attire,                                     <a href="#Page_158">158</a></li>
+<li>Animal Fair,                                       <a href="#Page_159">159</a></li>
+<li>Animal Persecutors,                                <a href="#Page_205">205</a></li>
+<li>Antebellum Courtship Inquiry,                      <a href="#Page_135">135</a></li>
+<li>Antebellum Marriage Proposal,                      <a href="#Page_137">137</a></li>
+<li>Are You Careful,                                   <a href="#Page_203">203</a></li>
+<li>Ark, The,                                           <a href="#Page_44">44</a></li>
+<li>As I Went to Shiloh,                                <a href="#Page_13">13</a></li>
+<li>Aspiration,                                        <a href="#Page_159">159</a></li>
+<li>Aunt Dinah Drunk,                                   <a href="#Page_53">53</a></li>
+<li>Aunt Jemima,                                       <a href="#Page_107">107</a></li>
+<li>Awful Harbingers,                                  <a href="#Page_149">149</a></li>
+</ul>
+
+<ul>
+<li>Baa! Baa! Black Sheep,                              <a href="#Page_27">27</a></li>
+<li>Baby Wants Cherries,                               <a href="#Page_181">181</a></li>
+<li>Bad Features,                                      <a href="#Page_100">100</a></li>
+<li>Banjo Picking, The,                                 <a href="#Page_21">21</a></li>
+<li>Bat! Bat!                                          <a href="#Page_202">202</a></li>
+<li>Bedbug,                                            <a href="#Page_96">96</a></li>
+<li>Bitter Lovers' Quarrel, A,                         <a href="#Page_127">127</a></li>
+<li>Black-eyed Peas For Luck,                          <a href="#Page_200">200</a></li>
+<li>Blessings,                                         <a href="#Page_204">204</a></li>
+<li>Blindfold Play Chant,                               <a href="#Page_73">73</a></li>
+<li>Bob-White's Song,                                  <a href="#Page_155">155</a></li>
+<li>Bought Me a Wife,                                  <a href="#Page_145">145</a></li>
+<li>Brag and Boast,                                    <a href="#Page_213">213</a></li>
+<li>Bridle up a Rat,                                   <a href="#Page_157">157</a>
+<!-- Page 328 --><span class='pagenum'><a name="Page_328" id="Page_328">[Pg 328]</a></span></li>
+<li>Bring on your Hot Corn,                             <a href="#Page_29">29</a></li>
+<li>Brother Ben and Sister Sal,                         <a href="#Page_46">46</a></li>
+<li>Buck and Berry,                                    <a href="#Page_172">172</a></li>
+<li>Buck-eyed Rabbit! Whoopee!,                        <a href="#Page_175">175</a></li>
+<li>Budget, A,                                          <a href="#Page_79">79</a></li>
+<li>Bull Frog Put on the Soldier Clothes,               <a href="#Page_20">20</a></li>
+<li>Butterfly,                                         <a href="#Page_182">182</a></li>
+</ul>
+
+<ul>
+<li>Captain Coon,                                      <a href="#Page_176">176</a></li>
+<li>Captain Dime,                                        <a href="#Page_5">5</a></li>
+<li>Care in Bread-making,                              <a href="#Page_112">112</a></li>
+<li>Caught by the Witch Play,                           <a href="#Page_74">74</a></li>
+<li>Chicken in the Bread Tray,                           <a href="#Page_7">7</a></li>
+<li>Chicken Pie,                                        <a href="#Page_69">69</a></li>
+<li>Children's Seating Rhyme,                          <a href="#Page_179">179</a></li>
+<li>Christmas Turkey,                                   <a href="#Page_98">98</a></li>
+<li>Chuck Will's Widow Song,                           <a href="#Page_156">156</a></li>
+<li>Clandestine Letter, A,                             <a href="#Page_136">136</a></li>
+<li>Coffee Grows on White Folks' Trees,                <a href="#Page_107">107</a></li>
+<li>College Ox, The,                                   <a href="#Page_112">112</a></li>
+<li>Cooking Dinner,                                    <a href="#Page_156">156</a></li>
+<li>Cotton-eyed Joe,                                    <a href="#Page_32">32</a></li>
+<li>Courting Boy, The,                                 <a href="#Page_141">141</a></li>
+<li>Courtship,                                         <a href="#Page_138">138</a></li>
+<li>Cow Needs a Tail in Fly-time, The,                  <a href="#Page_35">35</a></li>
+<li>Crooked Nose Jane,                                  <a href="#Page_99">99</a></li>
+<li>Crossing a Foot-Log,                               <a href="#Page_109">109</a></li>
+<li>Crossing the River,                                  <a href="#Page_6">6</a></li>
+</ul>
+
+<ul>
+<li><ins class="correction" title="original reads: Day's Happenings, A,">Day's Happiness, A,</ins>                               <a href="#Page_125">125</a></li>
+<li>Deedle, Dumpling,                                   <a href="#Page_171">171</a></li>
+<li>Destinies of Good and Bad Children,                <a href="#Page_200">200</a></li>
+<li>Destitute Former Slave Owners,                      <a href="#Page_97">97</a></li>
+<li>Devilish Pigs,                                      <a href="#Page_24">24</a></li>
+<li>Did You Feed My Cow?                                <a href="#Page_78">78</a></li>
+<li>Die in the Pig-Pen Fighting,                        <a href="#Page_39">39</a></li>
+<li>Dinah's Dinner Horn,                                <a href="#Page_18">18</a></li>
+<li>Do I Love You?                                     <a href="#Page_129">129</a>
+<!-- Page 329 --><span class='pagenum'><a name="Page_329" id="Page_329">[Pg 329]</a></span></li>
+<li>Does Money Talk?,                                  <a href="#Page_113">113</a></li>
+<li>Don't Ask Me Questions,                             <a href="#Page_63">63</a></li>
+<li>Don't Sing before Breakfast,                       <a href="#Page_186">186</a></li>
+<li>Don't Tell All You Know,                           <a href="#Page_214">214</a></li>
+<li>Doodle-Bug,                                        <a href="#Page_174">174</a></li>
+<li>Down in the Lonesome Garden,                        <a href="#Page_89">89</a></li>
+<li>Drinking Razor Soup,                               <a href="#Page_211">211</a></li>
+</ul>
+
+<ul>
+<li>Elephant, The,                                     <a href="#Page_116">116</a></li>
+<li>End of Ten Little Negroes, The,                    <a href="#Page_163">163</a></li>
+</ul>
+
+<ul>
+<li>Fattening Frogs for Snakes,                         <a href="#Page_97">97</a></li>
+<li>Fed From the Tree of Knowledge,                    <a href="#Page_212">212</a></li>
+<li>Few Negroes by States, A,                          <a href="#Page_117">117</a></li>
+<li>Fine Plaster, A,                                   <a href="#Page_124">124</a></li>
+<li>Fishing Simon,                                     <a href="#Page_177">177</a></li>
+<li>Flap-jacks,                                        <a href="#Page_196">196</a></li>
+<li>Forty-four,                                         <a href="#Page_71">71</a></li>
+<li>Four Runaway Negroes; Whence They Came,            <a href="#Page_205">205</a></li>
+<li>Fox and Geese,                                      <a href="#Page_40">40</a></li>
+<li>Fox and Geese Play,                                 <a href="#Page_73">73</a></li>
+<li>Fox and Rabbit Drinking Propositions,              <a href="#Page_111">111</a></li>
+<li>Frightened Away from a Chicken-Roost,               <a href="#Page_95">95</a></li>
+<li>Frog in a Mill (Guinea or Ebo Rhyme),              <a href="#Page_167">167</a></li>
+<li>Frog Went a-Courting,                              <a href="#Page_190">190</a></li>
+<li>From Slavery,                                      <a href="#Page_162">162</a></li>
+<li>Full Pocketbook, A,                                 <a href="#Page_99">99</a></li>
+</ul>
+
+<ul>
+<li>Getting Ten Negro Boys Together,                 <a href="#Page_184">184</a></li>
+<li>Go to Bed,                                         <a href="#Page_175">175</a></li>
+<li>Going To Be Good Slaves,                           <a href="#Page_101">101</a></li>
+<li>Good-by, Ring,                                      <a href="#Page_171">171</a></li>
+<li>Good-by, Wife!,                                      <a href="#Page_148">148</a></li>
+<li>Gooseberry Wine,                                    <a href="#Page_41">41</a></li>
+<li>Goosie-Gander Play Rhyme,                           <a href="#Page_75">75</a></li>
+<li>Grasshopper Sense,                                 <a href="#Page_169">169</a></li>
+<li>Grasshopper Sitting on a Sweet Potato Vine,        <a href="#Page_173">173</a></li>
+<li>Gray and Black Horses,                              <a href="#Page_45">45</a></li>
+<li>Great Owl's Song, The,                             <a href="#Page_151">151</a>
+<!-- Page 330 --><span class='pagenum'><a name="Page_330" id="Page_330">[Pg 330]</a></span></li>
+<li>Green Oak Tree! Rocky-o!,                           <a href="#Page_81">81</a></li>
+<li>Guinea Gall,                                       <a href="#Page_176">176</a></li>
+</ul>
+
+<ul>
+<li>Half Way Doings,                                   <a href="#Page_120">120</a></li>
+<li>Ham Beats all Meat,                                 <a href="#Page_67">67</a></li>
+<li>Harvest Song,                                       <a href="#Page_57">57</a></li>
+<li>Hated Blackbird and Crow, The,                     <a href="#Page_183">183</a></li>
+<li>Hawk and Buzzard,                                   <a href="#Page_75">75</a></li>
+<li>Hawk and Chickens,                                 <a href="#Page_185">185</a></li>
+<li>Hawk and Chickens Play,                             <a href="#Page_74">74</a></li>
+<li>He Is My Horse,                                     <a href="#Page_16">16</a></li>
+<li>He Loves Sugar and Tea,                             <a href="#Page_84">84</a></li>
+<li>He Paid Me Seven (Parody),                         <a href="#Page_122">122</a></li>
+<li>He Will Get Mr. Coon,                               <a href="#Page_28">28</a></li>
+<li>Hear-say,                                           <a href="#Page_114">114</a></li>
+<li>Here Comes a Young Man Courting,                    <a href="#Page_85">85</a></li>
+<li>Here I Stand,                                      <a href="#Page_153">153</a></li>
+<li>Hoecake,                                           <a href="#Page_49">49</a></li>
+<li>How to Get to Glory Land,                           <a href="#Page_96">96</a></li>
+<li>How to Keep or Kill The Devil,                     <a href="#Page_104">104</a></li>
+<li>How to Make it Rain,                               <a href="#Page_101">101</a></li>
+<li>How to Plant and Cultivate Seeds,                  <a href="#Page_208">208</a></li>
+<li>How to Please a Preacher,                          <a href="#Page_117">117</a></li>
+<li>Hunting Camp, The,                                  <a href="#Page_43">43</a></li>
+</ul>
+
+<ul>
+<li>I am not Going to Hobo Any More,                    <a href="#Page_70">70</a></li>
+<li>I Love Somebody,                                    <a href="#Page_51">51</a></li>
+<li>I Walked the Roads,                                <a href="#Page_139">139</a></li>
+<li>I Went down the Road,                               <a href="#Page_50">50</a></li>
+<li>I Wish I Was an Apple,                             <a href="#Page_133">133</a></li>
+<li>I Would not Marry a Black Girl,                     <a href="#Page_56">56</a></li>
+<li>I Would not Marry A Yellow Or A White Negro Girl,   <a href="#Page_63">63</a></li>
+<li>I'd rather Be a Negro than a Poor White Man,        <a href="#Page_42">42</a></li>
+<li>I'll Eat When I'm Hungry,                          <a href="#Page_114">114</a></li>
+<li>I'll Get You, Rabbit!,                              <a href="#Page_116">116</a></li>
+<li>I'll Wear Me a Cotton Dress,                       <a href="#Page_118">118</a>
+<!-- Page 331 --><span class='pagenum'><a name="Page_331" id="Page_331">[Pg 331]</a></span></li>
+<li>I'm a "Round-Town" Gentleman,                      <a href="#Page_108">108</a></li>
+<li>If You Frown,                                      <a href="#Page_137">137</a></li>
+<li>In '76,                                    <a href="#Page_178">178</a></li>
+<li>In a Mulberry Tree,                                <a href="#Page_158">158</a></li>
+<li>In a Rush,                                         <a href="#Page_183">183</a></li>
+<li>Independent,                                       <a href="#Page_209">209</a></li>
+<li>Indian Flea,                                        <a href="#Page_12">12</a></li>
+<li>Invited to Take the Escort's Arm,                  <a href="#Page_135">135</a></li>
+<li>It Is Hard to Love,                                <a href="#Page_132">132</a></li>
+</ul>
+
+<ul>
+<li>Jack and Dinah Want Freedom,                       <a href="#Page_215">215</a></li>
+<li>Jackson, Put that Kettle On!,                        <a href="#Page_17">17</a></li>
+<li>Jawbone,                                            <a href="#Page_12">12</a></li>
+<li>Jaybird,                                            <a href="#Page_14">14</a></li>
+<li>Jaybird Died with the Whooping Cough,               <a href="#Page_36">36</a></li>
+<li>Joe and Malinda Jane,                                <a href="#Page_4">4</a></li>
+<li>John Henry,                                        <a href="#Page_105">105</a></li>
+<li>Johnny Bigfoot,                                     <a href="#Page_93">93</a></li>
+<li>Jonah's Band Party,                                  <a href="#Page_1">1</a></li>
+<li>Juba,                                                <a href="#Page_9">9</a></li>
+<li>Judge Buzzard,                                      <a href="#Page_16">16</a></li>
+<li>Jump Jim Crow,                                      <a href="#Page_13">13</a></li>
+</ul>
+
+<ul>
+<li>Kept Busy,                                         <a href="#Page_109">109</a></li>
+<li>Kissing Song,                                       <a href="#Page_82">82</a></li>
+<li>Kneel on This Carpet,                               <a href="#Page_82">82</a></li>
+</ul>
+
+<ul>
+<li>Last of Jack, The,                                 <a href="#Page_149">149</a></li>
+<li>Learn to Count,                                    <a href="#Page_207">207</a></li>
+<li>"Let's Marry" Courtship,                           <a href="#Page_138">138</a></li>
+<li>Likes and Dislikes,                                 <a href="#Page_76">76</a></li>
+<li>Little Boy Who Couldn't Count Seven,               <a href="#Page_160">160</a></li>
+<li>Little Dogs,                                       <a href="#Page_150">150</a></li>
+<li>Little Negro Fly, The,                             <a href="#Page_199">199</a></li>
+<li>Little Pickaninny, A,                              <a href="#Page_186">186</a></li>
+<li>Little Red Hen,                                     <a href="#Page_37">37</a></li>
+<li>Little Rooster, The,                                <a href="#Page_29">29</a></li>
+<li>Little Sister, Won't You Marry Me?                  <a href="#Page_90">90</a></li>
+<li>Little Sleeping Negroes,                           <a href="#Page_187">187</a></li>
+<li>Looking for a Fight,                               <a href="#Page_118">118</a>
+<!-- Page 332 --><span class='pagenum'><a name="Page_332" id="Page_332">[Pg 332]</a></span></li>
+<li>Love Is Just a Thing of Fancy,                       <a href="#Page_2">2</a></li>
+<li>Lovers' Good-night,                                 <a href="#Page_129">129</a></li>
+</ul>
+
+<ul>
+<li>Mamma's Darling,                                   <a href="#Page_188">188</a></li>
+<li>Man of Words, A,                                   <a href="#Page_208">208</a></li>
+<li>Master is Six Feet One Way,                         <a href="#Page_40">40</a></li>
+<li>Master Killed a Big Bull,                          <a href="#Page_126">126</a></li>
+<li>Master's "Stolen" Coat, The,                        <a href="#Page_62">62</a></li>
+<li>Me and my Lover,                                   <a href="#Page_132">132</a></li>
+<li>Miss Blodger,                                      <a href="#Page_199">199</a></li>
+<li>Miss Slippy Sloppy,                                <a href="#Page_100">100</a></li>
+<li>Miss Terrapin and Miss Toad,                       <a href="#Page_162">162</a></li>
+<li>Molly Cottontail,                                    <a href="#Page_8">8</a></li>
+<li>Mother Says I am Six Years Old,                    <a href="#Page_164">164</a></li>
+<li>Mourning Slave Fiancees,                           <a href="#Page_129">129</a></li>
+<li>Mud-Log Pond,                                       <a href="#Page_185">185</a></li>
+<li>Mule's Kick, The,                                   <a href="#Page_98">98</a></li>
+<li>Mule's Nature, The,                                <a href="#Page_108">108</a></li>
+<li>My Baby,                                           <a href="#Page_180">180</a></li>
+<li>My Dog, Cuff,                                      <a href="#Page_150">150</a></li>
+<li>My Fiddle,                                          <a href="#Page_39">39</a></li>
+<li>My First and my Second Wife,                       <a href="#Page_147">147</a></li>
+<li>My Folks and your Folks,                           <a href="#Page_187">187</a></li>
+<li>My Little Pig,                                     <a href="#Page_157">157</a></li>
+<li>My Mule,                                           <a href="#Page_19">19</a></li>
+<li>My Speckled Hen,                                   <a href="#Page_170">170</a></li>
+<li>My Wonderful Travel,                                <a href="#Page_55">55</a></li>
+<li>Mysterious Face Washing,                           <a href="#Page_174">174</a></li>
+</ul>
+
+<ul>
+<li>Nashville Ladies, The,                             <a href="#Page_106">106</a></li>
+<li>Negro and the Policeman, The,                       <a href="#Page_66">66</a></li>
+<li>Negro Baker Man,                                   <a href="#Page_154">154</a></li>
+<li>Negro Soldier's Civil War Chant,                   <a href="#Page_115">115</a></li>
+<li>Negroes Never Die,                                  <a href="#Page_11">11</a></li>
+<li>Nesting,                                           <a href="#Page_180">180</a></li>
+<li>Newly Weds, The,                                 <a href="#Page_144">144</a></li>
+<li>No Room to Poke Fun,                                <a href="#Page_99">99</a></li>
+<li>Nobody Looking,                                     <a href="#Page_48">48</a>
+<!-- Page 333 --><span class='pagenum'><a name="Page_333" id="Page_333">[Pg 333]</a></span></li>
+</ul>
+
+<ul>
+<li>Off from Richmond,                                  <a href="#Page_15">15</a></li>
+<li>Old Aunt Kate,                                     <a href="#Page_179">179</a></li>
+<li>Old Black Gnats, The,                               <a href="#Page_80">80</a></li>
+<li>Old Gray Mink,                                      <a href="#Page_33">33</a></li>
+<li>Old Hen Cackled, The,                               <a href="#Page_50">50</a></li>
+<li>Old Man Know-all,                                  <a href="#Page_211">211</a></li>
+<li>Old Molly Hare,                                     <a href="#Page_22">22</a></li>
+<li>Old Section Boss, The,                              <a href="#Page_64">64</a></li>
+<li>Old Woman in the Hills, The,                        <a href="#Page_54">54</a></li>
+<li>On Top of the Pot,                                  <a href="#Page_10">10</a></li>
+<li>Opossum Hunt, An,                                   <a href="#Page_23">23</a></li>
+<li>Origin of the Snake, The,                          <a href="#Page_165">165</a></li>
+<li>Our Old Mule,                                      <a href="#Page_112">112</a></li>
+<li>Outrunning the Devil,                              <a href="#Page_103">103</a></li>
+</ul>
+
+<ul>
+<li>Page's Geese,                                      <a href="#Page_102">102</a></li>
+<li>Parody&mdash;He Paid Me Seven,                          <a href="#Page_122">122</a></li>
+<li>Parody on "Now I Lay Me Down to Sleep",            <a href="#Page_115">115</a></li>
+<li>Parody on "Reign, Master Jesus! Reign!",            <a href="#Page_122">122</a></li>
+<li>Paying Debts with Kicks,                           <a href="#Page_184">184</a></li>
+<li>Peep Squirrel,                                      <a href="#Page_78">78</a></li>
+<li>Periwinkle,                                        <a href="#Page_201">201</a></li>
+<li>Pig Tail,                                           <a href="#Page_153">153</a></li>
+<li>Plaster,                                            <a href="#Page_60">60</a></li>
+<li>'Possum up the Gum Stump,                            <a href="#Page_3">3</a></li>
+<li>Precious Things,                                    <a href="#Page_84">84</a></li>
+<li>Presenting a Hat to Phoebe,                        <a href="#Page_140">140</a></li>
+<li>Pretty Little Girl,                                <a href="#Page_172">172</a></li>
+<li>Pretty Little Pink,                                <a href="#Page_127">127</a></li>
+<li>Pretty Pair of Chickens, A,                        <a href="#Page_181">181</a></li>
+<li>Pretty Polly Ann,                                  <a href="#Page_142">142</a></li>
+<li>Promises of Freedom,                                <a href="#Page_25">25</a></li>
+<li><ins class="correction" title="While listed in the Index, this rhyme does not appear anywhere in the text.">Push the Hog's Feet under the Bed,</ins></li>
+</ul>
+
+<ul>
+<li>Rabbit Hash,                                       <a href="#Page_203">203</a></li>
+<li>Rabbit Soup,                                        <a href="#Page_33">33</a></li>
+<li>Raccoon and Opossum Fight,                          <a href="#Page_31">31</a></li>
+<li>Race-starter's Rhyme, A,                           <a href="#Page_180">180</a></li>
+<li>Raise a "Rucus" To-night,                            <a href="#Page_90">90</a>
+<!-- Page 334 --><span class='pagenum'><a name="Page_334" id="Page_334">[Pg 334]</a></span></li>
+<li>Randsome Tantsome,                                 <a href="#Page_202">202</a></li>
+<li>Rascal, The,                                       <a href="#Page_106">106</a></li>
+<li>Ration Day,                                         <a href="#Page_38">38</a></li>
+<li>Rattler,                                            <a href="#Page_46">46</a></li>
+<li>Raw Head and Bloody Bones,                         <a href="#Page_174">174</a></li>
+<li>Redhead Woodpecker,                                <a href="#Page_178">178</a></li>
+<li>Rejected by Eliza Jane,                            <a href="#Page_134">134</a></li>
+<li>Request to Sell, A,                                <a href="#Page_123">123</a></li>
+<li>Roses Red,                                         <a href="#Page_128">128</a></li>
+<li>Run, Nigger, Run!,                                  <a href="#Page_34">34</a></li>
+</ul>
+
+<ul>
+<li>Sail Away, Ladies!,                                 <a href="#Page_20">20</a></li>
+<li>Sallie,                                             <a href="#Page_87">87</a></li>
+<li>Salt-rising Bread,                                  <a href="#Page_83">83</a></li>
+<li>Sam Is a Clever Fellow,                            <a href="#Page_151">151</a></li>
+<li>Satan,                                              <a href="#Page_93">93</a></li>
+<li>Self-control,                                      <a href="#Page_213">213</a></li>
+<li>Sex Laugh,                                         <a href="#Page_102">102</a></li>
+<li>Shake the Persimmons Down,                          <a href="#Page_34">34</a></li>
+<li>She Hugged Me and Kissed Me,                       <a href="#Page_131">131</a></li>
+<li>Sheep and Goat,                                     <a href="#Page_17">17</a></li>
+<li>Sheep Shell Corn,                                   <a href="#Page_59">59</a></li>
+<li>Shoo! Shoo!,                                       <a href="#Page_196">196</a></li>
+<li>Short Letter, A,                                   <a href="#Page_113">113</a></li>
+<li>Sick Wife, A,                                       <a href="#Page_55">55</a></li>
+<li>Simon Slick's Mule,                                 <a href="#Page_47">47</a></li>
+<li>Slave Marriage Ceremony Supplement,                <a href="#Page_143">143</a></li>
+<li>Snail's Reply, The,                                <a href="#Page_170">170</a></li>
+<li>Song to the Runaway Slave,                          <a href="#Page_88">88</a></li>
+<li>Sparking or Courting,                              <a href="#Page_136">136</a></li>
+<li>Speak Softly,                                      <a href="#Page_214">214</a></li>
+<li>Stand Back, Black Man,                              <a href="#Page_10">10</a></li>
+<li>Stealing a Ride,                                   <a href="#Page_188">188</a></li>
+<li>Stick-a-ma-stew,                                   <a href="#Page_155">155</a></li>
+<li>Still Water Creek,                                   <a href="#Page_2">2</a></li>
+<li>Still Water Runs Deep,                             <a href="#Page_214">214</a></li>
+<li>Strange Brood, A,                                  <a href="#Page_166">166</a></li>
+<li>Strange Family, A,                                 <a href="#Page_171">171</a></li>
+<li>Strange Old Woman, A,                              <a href="#Page_178">178</a>
+<!-- Page 335 --><span class='pagenum'><a name="Page_335" id="Page_335">[Pg 335]</a></span></li>
+<li>Strong Hands,                                      <a href="#Page_167">167</a></li>
+<li>Sugar in Coffee,                                    <a href="#Page_30">30</a></li>
+<li>Sugar Loaf Tea,                                     <a href="#Page_81">81</a></li>
+<li>Susan Jane,                                         <a href="#Page_77">77</a></li>
+<li>Susie Girl,                                         <a href="#Page_76">76</a></li>
+<li>Suze Ann,                                           <a href="#Page_68">68</a></li>
+<li>Sweet Pinks and Roses,                              <a href="#Page_92">92</a></li>
+</ul>
+
+<ul>
+<li>Tails,                                               <a href="#Page_5">5</a></li>
+<li>Taking a Walk,                                     <a href="#Page_183">183</a></li>
+<li>Teaching Table Manners,                            <a href="#Page_197">197</a></li>
+<li>Temperance Rhyme,                                  <a href="#Page_209">209</a></li>
+<li>That Hypocrite,                                    <a href="#Page_210">210</a></li>
+<li>"They Steal" Gossip,                               <a href="#Page_110">110</a></li>
+<li>This Sun is Hot,                                   <a href="#Page_108">108</a></li>
+<li>Thrifty Slave, The,                                 <a href="#Page_94">94</a></li>
+<li>To Win a Yellow Girl,                              <a href="#Page_102">102</a></li>
+<li>Tongue, The,                                       <a href="#Page_212">212</a></li>
+<li>Too Much Watermelon,                               <a href="#Page_182">182</a></li>
+<li>Town Bird and the Country Bird, The,               <a href="#Page_166">166</a></li>
+<li>Training the Boy,                                  <a href="#Page_201">201</a></li>
+<li>Tree Frogs (Guinea or Ebo Rhyme),                  <a href="#Page_168">168</a></li>
+<li>Turkey Funeral, A,                                 <a href="#Page_111">111</a></li>
+<li>T-U-Turkey,                                          <a href="#Page_6">6</a></li>
+<li>Turtle's Song, The,                                 <a href="#Page_30">30</a></li>
+<li>Two Sick Negro Boys,                               <a href="#Page_173">173</a></li>
+<li>Two Times One,                                     <a href="#Page_121">121</a></li>
+</ul>
+
+<ul>
+<li>Uncle Jerry Fants,                                 <a href="#Page_109">109</a></li>
+<li>Uncle Ned,                                          <a href="#Page_61">61</a></li>
+</ul>
+
+<ul>
+<li>Vinie,                                             <a href="#Page_130">130</a></li>
+</ul>
+
+<ul>
+<li>Walk, Talk, Chicken with your Head Pecked,           <a href="#Page_4">4</a></li>
+<li>Walk, Tom Wilson,                                   <a href="#Page_68">68</a></li>
+<li>Wanted: Cornbread and Coon,                         <a href="#Page_37">37</a></li>
+<li>War is On, The,                                    <a href="#Page_207">207</a></li>
+<li>Washing Mamma's Dishes,                            <a href="#Page_189">189</a></li>
+<li>Watermelon Preferred,                              <a href="#Page_110">110</a></li>
+<li>We Are "All the Go",                                 <a href="#Page_52">52</a></li>
+<li>We'll Stick to the Hoe,                            <a href="#Page_123">123</a>
+<!-- Page 336 --><span class='pagenum'><a name="Page_336" id="Page_336">[Pg 336]</a></span></li>
+<li>What Will We Do for Bacon?,                        <a href="#Page_185">185</a></li>
+<li>When I Go to Marry,                                <a href="#Page_144">144</a></li>
+<li>When I Was a Little Boy,                           <a href="#Page_168">168</a></li>
+<li>When I Was a Roustabout,                           <a href="#Page_145">145</a></li>
+<li>When My Wife Dies,                                  <a href="#Page_26">26</a></li>
+<li>Why Look at Me,                                    <a href="#Page_113">113</a></li>
+<li>Why the Woodpecker's Head Is Red,                  <a href="#Page_203">203</a></li>
+<li>Wild Hog Hunt,                                     <a href="#Page_165">165</a></li>
+<li>Wild Negro Bill,                                    <a href="#Page_94">94</a></li>
+<li>Willie Wee,                                        <a href="#Page_189">189</a></li>
+<li>Wind Bag, A,                                       <a href="#Page_101">101</a></li>
+<li>Wooing,                                            <a href="#Page_140">140</a></li>
+</ul>
+
+<ul>
+<li>Year of Jubilee, <a href="#Page_58">58</a></li>
+<li>You Had Better Mind Master, <a href="#Page_126">126</a></li>
+<li>You Have Made Me Weep, <a href="#Page_128">128</a></li>
+<li>You Love your Girl, <a href="#Page_95">95</a></li>
+<li>Young Master and Old Master, <a href="#Page_169">169</a></li>
+</ul>
+
+<h3>Foreign Section Index</h3>
+
+<ul>
+<li><i>African Rhymes</i>
+
+<ul><li>  Byanswahn-Byanswahn,                             <a href="#Page_219">219</a></li>
+<li>  Near Waldo Teedo o mah nah mejai,                <a href="#Page_216">216</a></li>
+<li>  Sai Boddeoh Sumpun Komo,                         <a href="#Page_218">218</a></li>
+<li>  The Frogs,                                       <a href="#Page_220">220</a></li>
+<li>  The Owl,                                         <a href="#Page_217">217</a></li>
+<li>  The Turkey Buzzard,                              <a href="#Page_220">220</a></li>
+<li>  Tuba Blay,                                       <a href="#Page_217">217</a></li></ul></li>
+</ul>
+
+<ul>
+<li><i>A Philippine Island Rhyme</i>,                  <a href="#Page_227">227</a></li>
+</ul>
+
+<ul>
+<li><i>Trinidad Rhymes</i>
+
+<ul>
+<li>  A Tom Cat,                                       <a href="#Page_226">226</a></li>
+<li><ins class="correction" title="original was not indented, and reads: Unbelle">Un Belle</ins> Marie Coolie,                           <a href="#Page_225">225</a></li></ul></li>
+</ul>
+
+<ul>
+<li><i>Jamaica Rhyme</i>
+
+  <ul><li>Buscher Garden,                                  <a href="#Page_222">222</a></li></ul></li>
+</ul>
+
+<ul><li><i>Venezuelan Rhymes</i>
+
+  <ul><li>A "Would Be" Immigrant,                          <a href="#Page_224">224</a></li>
+  <li>Game Contestants' Song,                          <a href="#Page_223">223</a></li>
+</ul></li>
+</ul>
+
+<p><!-- Page 337 --><span class='pagenum'><a name="Page_337" id="Page_337">[Pg 337]</a></span></p>
+<h3>Part II</h3>
+
+<ul><li>A Study in Negro Folk Rhymes, <a href="#Page_228">228</a></li></ul>
+
+<h2>COMPARATIVE STUDY INDEX</h2>
+
+<h3 class="ital">Love Songs</h3>
+
+<ul>
+<li>Bitter Lovers' Quarrel; One Side,                  <a href="#Page_127">127</a></li>
+</ul>
+
+<ul>
+<li>Courting Boy, The,                                 <a href="#Page_141">141</a></li>
+</ul>
+
+<ul>
+<li>It Is Hard to Love,                                <a href="#Page_132">132</a></li>
+<li>I Wish I Was an Apple,                             <a href="#Page_133">133</a></li>
+</ul>
+
+<ul>
+<li>Lovers' Good-night,                                <a href="#Page_129">129</a></li>
+</ul>
+
+<ul>
+<li>Me and my Lover,                                   <a href="#Page_132">132</a></li>
+<li>Mourning Slave Fiancees,                           <a href="#Page_129">129</a></li>
+</ul>
+
+<ul>
+<li>Pretty Polly Ann,                                  <a href="#Page_142">142</a></li>
+</ul>
+
+<ul>
+<li>Rejected by Eliza Jane,                            <a href="#Page_134">134</a></li>
+<li>Roses Red,                                         <a href="#Page_128">128</a></li>
+</ul>
+
+<ul>
+<li>She Hugged Me and She Kissed Me,                   <a href="#Page_131">131</a></li>
+</ul>
+
+<ul>
+<li>Vinie,                                             <a href="#Page_130">130</a></li>
+</ul>
+
+<ul>
+<li>Wooing,                                            <a href="#Page_140">140</a></li>
+</ul>
+
+<ul>
+<li>You Have Made Me Weep,                             <a href="#Page_128">128</a></li>
+<li>You Love your Girl,                                 <a href="#Page_95">95</a></li>
+</ul>
+
+<h3 class="ital">Dance Songs</h3>
+
+<ul>
+<li>Ark, The,                                           <a href="#Page_44">44</a></li>
+<li>Aunt Dinah Drunk,                                   <a href="#Page_53">53</a></li>
+</ul>
+
+<ul>
+<li>Baa! Baa! Black Sheep,                              <a href="#Page_27">27</a></li>
+<li>Banjo Picking,                                      <a href="#Page_21">21</a></li>
+<li>Brother Ben and Sister Sal,                         <a href="#Page_46">46</a></li>
+<li>Bull Frog Put on the Soldier Clothes,               <a href="#Page_20">20</a></li>
+</ul>
+
+<ul>
+<li>Chicken Pie,                                        <a href="#Page_69">69</a></li>
+<li>Cotton-eyed Joe,                                    <a href="#Page_32">32</a></li>
+<li>Cow Needs a Tail in Fly-time, The,                  <a href="#Page_35">35</a></li>
+</ul>
+
+<ul>
+<li>Devilish Pigs,                                      <a href="#Page_24">24</a></li>
+<li>Die in the Pig-Pen Fighting,                        <a href="#Page_39">39</a></li>
+<li>Dinah's Dinner Horn,                                <a href="#Page_18">18</a></li>
+<li>Don't Ask Me Questions,                             <a href="#Page_63">63</a>
+<!-- Page 338 --><span class='pagenum'><a name="Page_338" id="Page_338">[Pg 338]</a></span></li>
+</ul>
+
+<ul>
+<li>Forty-four,                                         <a href="#Page_71">71</a></li>
+<li>Fox and Geese,                                      <a href="#Page_40">40</a></li>
+</ul>
+
+<ul>
+<li>Gooseberry Wine,                                    <a href="#Page_41">41</a></li>
+<li>Gray and Black Horses,                              <a href="#Page_45">45</a></li>
+</ul>
+
+<ul>
+<li>Ham Beats All Meat,                                 <a href="#Page_67">67</a></li>
+<li>He Is my Horse,                                     <a href="#Page_16">16</a></li>
+<li>Hoecake,                                           <a href="#Page_49">49</a></li>
+</ul>
+
+<ul>
+<li>I am not Going to Hobo Any More,                    <a href="#Page_70">70</a></li>
+<li>I Love Somebody,                                    <a href="#Page_51">51</a></li>
+<li>I Went down the Road,                               <a href="#Page_50">50</a></li>
+<li>I Would not Marry a Black Girl,                     <a href="#Page_56">56</a></li>
+<li>I Would not Marry a Yellow or a White Negro Girl,   <a href="#Page_63">63</a></li>
+<li>I'd rather Be a Negro than a Poor White Man,    <a href="#Page_42">42</a></li>
+</ul>
+
+<ul>
+<li>Jack and Dinah Want Freedom,                       <a href="#Page_215">215</a></li>
+<li>Jaybird,                                            <a href="#Page_14">14</a></li>
+<li>Jaybird Died with the Whooping Cough,               <a href="#Page_36">36</a></li>
+</ul>
+
+<ul>
+<li>Little Red Hen,                                     <a href="#Page_37">37</a></li>
+<li>Little Rooster, The,                                <a href="#Page_29">29</a></li>
+</ul>
+
+<ul>
+<li>Master is Six Feet One Way,                         <a href="#Page_40">40</a></li>
+<li>Master's "Stolen Coat," The,                        <a href="#Page_62">62</a></li>
+<li>My Fiddle,                                          <a href="#Page_39">39</a></li>
+<li>My Mule,                                            <a href="#Page_19">19</a></li>
+<li>My Wonderful Travel,                                <a href="#Page_55">55</a></li>
+</ul>
+
+<ul>
+<li>Negro and the Policeman, The,                       <a href="#Page_66">66</a></li>
+<li>Nobody Looking,                                     <a href="#Page_48">48</a></li>
+</ul>
+
+<ul>
+<li>Off from Richmond,                                  <a href="#Page_15">15</a></li>
+<li>Old Gray Mink,                                      <a href="#Page_33">33</a></li>
+<li>Old Hen Cackled, The,                               <a href="#Page_50">50</a></li>
+<li>Old Molly Hare,                                     <a href="#Page_22">22</a></li>
+<li>Old Section Boss, The,                              <a href="#Page_64">64</a></li>
+<li>Old Woman in the Hills, The,                        <a href="#Page_54">54</a></li>
+<li>Opossum Hunt, An,                                   <a href="#Page_23">23</a></li>
+</ul>
+
+<ul>
+<li>Plaster,                                            <a href="#Page_60">60</a></li>
+<li>'Possum up the Gum Stump,                            <a href="#Page_3">3</a></li>
+<li>Promises of Freedom,                                <a href="#Page_25">25</a>
+<!-- Page 339 --><span class='pagenum'><a name="Page_339" id="Page_339">[Pg 339]</a></span></li>
+</ul>
+
+<ul>
+<li>Rabbit Soup,                                        <a href="#Page_33">33</a></li>
+<li>Raccoon and Opossum Fight,                          <a href="#Page_31">31</a></li>
+<li>Ration Day,                                         <a href="#Page_38">38</a></li>
+<li>Rattler,                                            <a href="#Page_46">46</a></li>
+<li>Run, Nigger, Run!                                   <a href="#Page_34">34</a></li>
+</ul>
+
+<ul>
+<li>Sail Away, Ladies!                                  <a href="#Page_20">20</a></li>
+<li>Shake the Persimmons Down,                          <a href="#Page_34">34</a></li>
+<li>Sheep and Goat,                                     <a href="#Page_17">17</a></li>
+<li>Sheep Shell Corn,                                   <a href="#Page_59">59</a></li>
+<li>Sick Wife, A,                                       <a href="#Page_55">55</a></li>
+<li>Simon Slick's Mule,                                 <a href="#Page_47">47</a></li>
+<li>Sugar in Coffee,                                    <a href="#Page_30">30</a></li>
+<li>Suze Ann,                                           <a href="#Page_68">68</a></li>
+</ul>
+
+<ul>
+<li>Uncle Ned,                                          <a href="#Page_61">61</a></li>
+</ul>
+
+<ul>
+<li>Walk, Tom Wilson,                                   <a href="#Page_68">68</a></li>
+<li>Wanted: Cornbread and Coon,                         <a href="#Page_37">37</a></li>
+<li>We Are "All the Go",                                <a href="#Page_52">52</a></li>
+<li>When My Wife Dies,                                  <a href="#Page_26">26</a></li>
+</ul>
+
+<ul>
+<li>Year of Jubilee,                                    <a href="#Page_58">58</a></li>
+</ul>
+
+<h3 class="ital">Animal and Nature Lore</h3>
+
+<ul>
+<li>Animal Attire,                                     <a href="#Page_158">158</a></li>
+<li>Animal Fair,                                       <a href="#Page_159">159</a></li>
+<li>Animal Persecutors,                                <a href="#Page_205">205</a></li>
+<li>Awful Harbingers,                                  <a href="#Page_149">149</a></li>
+</ul>
+
+<ul>
+<li>Bob-White's Song,                                  <a href="#Page_155">155</a></li>
+<li>Bridle Up a Rat,                                   <a href="#Page_157">157</a></li>
+<li>Buck and Berry,                                    <a href="#Page_172">172</a></li>
+<li>Buck-eyed Rabbit! Whoopee!                         <a href="#Page_175">175</a></li>
+</ul>
+
+<ul>
+<li>Chuck Will's Widow Song,                           <a href="#Page_156">156</a></li>
+</ul>
+
+<ul>
+<li>Frog in a Mill,                                    <a href="#Page_167">167</a></li>
+<li>Frog Went a-Courting,                              <a href="#Page_190">190</a></li>
+<li>Full Pocketbook, A,                                 <a href="#Page_99">99</a></li>
+</ul>
+
+<ul>
+<li>Great Owl's Song,                                  <a href="#Page_151">151</a>
+<!-- Page 340 --><span class='pagenum'><a name="Page_340" id="Page_340">[Pg 340]</a></span></li>
+</ul>
+
+<ul>
+<li>Jaybird,                                            <a href="#Page_14">14</a></li>
+<li>Judge Buzzard,                                      <a href="#Page_16">16</a></li>
+</ul>
+
+<ul>
+<li>Last of Jack, The,                                 <a href="#Page_149">149</a></li>
+<li>Little Dogs,                                       <a href="#Page_150">150</a></li>
+</ul>
+
+<ul>
+<li>Man of Words, A,                                   <a href="#Page_208">208</a></li>
+<li>Miss Terrapin and Miss Toad,                       <a href="#Page_162">162</a></li>
+<li>Molly Cottontail,                                    <a href="#Page_8">8</a></li>
+<li>My Dog, Cuff,                                      <a href="#Page_150">150</a></li>
+<li>My Speckled Hen,                                   <a href="#Page_170">170</a></li>
+</ul>
+
+<ul>
+<li>Old Molly Hare,                                     <a href="#Page_22">22</a></li>
+<li>Origin of the Snake, The,                          <a href="#Page_165">165</a></li>
+</ul>
+
+<ul>
+<li>Snail's Reply, The,                                <a href="#Page_170">170</a></li>
+<li>Strange Brood, A,                                  <a href="#Page_166">166</a></li>
+</ul>
+
+<ul>
+<li>Tails,                                               <a href="#Page_5">5</a></li>
+<li>Town Bird and the Country Bird, The,               <a href="#Page_166">166</a></li>
+<li>Turtle's Song, The,                                 <a href="#Page_30">30</a></li>
+</ul>
+
+<ul>
+<li>Why the Woodpecker's Head is Red,                  <a href="#Page_203">203</a></li>
+</ul>
+
+<h3 class="ital">Nursery Rhymes</h3>
+
+<ul>
+<li>A. B. C.,                                          <a href="#Page_154">154</a></li>
+<li>Alabama Way, The,                                  <a href="#Page_164">164</a></li>
+<li>Animal Fair,                                       <a href="#Page_159">159</a></li>
+<li>Are You Careful?,                                  <a href="#Page_203">203</a></li>
+<li>Aspiration,                                        <a href="#Page_159">159</a></li>
+<li>Awful Harbingers,                                  <a href="#Page_149">149</a></li>
+</ul>
+
+<ul>
+<li>Baby Wants Cherries,                               <a href="#Page_181">181</a></li>
+<li>Bat! Bat!,                                         <a href="#Page_202">202</a></li>
+<li>Black-eyed Peas for Luck,                          <a href="#Page_200">200</a></li>
+<li>Blessings,                                         <a href="#Page_204">204</a></li>
+<li>Bob-White's Song,                                  <a href="#Page_155">155</a></li>
+<li>Buck-eyed Rabbit! Whoopee!,                        <a href="#Page_175">175</a></li>
+<li>Butterfly,                                         <a href="#Page_182">182</a></li>
+</ul>
+
+<ul>
+<li>Captain Coon,                                      <a href="#Page_176">176</a></li>
+<li>Children's Seating Rhyme,                          <a href="#Page_179">179</a>
+<!-- Page 341 --><span class='pagenum'><a name="Page_341" id="Page_341">[Pg 341]</a></span></li>
+<li>Chuck Will's Widow Song,                           <a href="#Page_156">156</a></li>
+<li>Cooking Dinner,                                    <a href="#Page_156">156</a></li>
+<li>Crossing the River,                                  <a href="#Page_6">6</a></li>
+</ul>
+
+<ul>
+<li>Deedle, Dumpling,                                  <a href="#Page_171">171</a></li>
+<li>Destinies of Good and Bad Children,                <a href="#Page_200">200</a></li>
+<li>Did You Feed My Cow?,                               <a href="#Page_78">78</a></li>
+<li>Don't Sing before Breakfast,                       <a href="#Page_186">186</a></li>
+<li>Doodle-Bug,                                        <a href="#Page_174">174</a></li>
+</ul>
+
+<ul>
+<li>End of Ten Little Negroes, The,                    <a href="#Page_163">163</a></li>
+</ul>
+
+<ul>
+<li>Fishing Simon,                                     <a href="#Page_177">177</a></li>
+<li>Flap-jacks,                                        <a href="#Page_196">196</a></li>
+<li>Four Runaway Negroes; Whence They Came,            <a href="#Page_205">205</a></li>
+<li>Frog Went a-Courting,                              <a href="#Page_190">190</a></li>
+<li>From Slavery,                                      <a href="#Page_162">162</a></li>
+</ul>
+
+<ul>
+<li>Getting Ten Negro Boys Together,                   <a href="#Page_184">184</a></li>
+<li>Go to Bed,                                         <a href="#Page_175">175</a></li>
+<li>Good-by, Ring,                                      <a href="#Page_171">171</a></li>
+<li>Grasshopper Sitting on a Sweet Potato Vine,        <a href="#Page_173">173</a></li>
+<li>Grasshopper-Sense,                                 <a href="#Page_169">169</a></li>
+<li>Great Owl's Song, The,                             <a href="#Page_151">151</a></li>
+<li>Guinea Gall,                                       <a href="#Page_176">176</a></li>
+</ul>
+
+<ul>
+<li>Hated Blackbird and Crow, The,                     <a href="#Page_183">183</a></li>
+<li>Hawk and Chickens,                                 <a href="#Page_185">185</a></li>
+<li>Here I Stand,                                      <a href="#Page_153">153</a></li>
+</ul>
+
+<ul>
+<li>In '76,                                            <a href="#Page_178">178</a></li>
+<li>In a Mulberry Tree,                                <a href="#Page_158">158</a></li>
+<li>In a Rush,                                         <a href="#Page_183">183</a></li>
+</ul>
+
+<ul>
+<li>Judge Buzzard,                                      <a href="#Page_16">16</a></li>
+</ul>
+
+<ul>
+<li>Little Boy Who Couldn't Count Seven,               <a href="#Page_160">160</a></li>
+<li>Little Dogs,                                       <a href="#Page_150">150</a></li>
+<li>Little Negro Fly, The,                             <a href="#Page_199">199</a></li>
+<li>Little Pickaninny, A,                              <a href="#Page_186">186</a></li>
+<li>Little Sleeping Negroes,                           <a href="#Page_187">187</a></li>
+</ul>
+
+<ul>
+<li>Mamma's Darling,                                   <a href="#Page_188">188</a></li>
+<li>Miss Blodger,                                      <a href="#Page_199">199</a>
+<!-- Page 342 --><span class='pagenum'><a name="Page_342" id="Page_342">[Pg 342]</a></span></li>
+<li>Miss Terrapin and Miss Toad,                       <a href="#Page_162">162</a></li>
+<li>Mother Says I am Six Years Old,                    <a href="#Page_164">164</a></li>
+<li>Mud-Log Pond,                                       <a href="#Page_185">185</a></li>
+<li>My Baby,                                           <a href="#Page_180">180</a></li>
+<li>My Dog, Cuff,                                      <a href="#Page_150">150</a></li>
+<li>My Folks and your Folks,                           <a href="#Page_187">187</a></li>
+<li>My Little Pig,                                     <a href="#Page_157">157</a></li>
+<li>My Speckled Hen,                                   <a href="#Page_170">170</a></li>
+<li>Mysterious Face Washing,                           <a href="#Page_174">174</a></li>
+</ul>
+
+<ul>
+<li>Negro Baker Man,                                   <a href="#Page_154">154</a></li>
+<li>Nesting,                                           <a href="#Page_180">180</a></li>
+</ul>
+
+<ul>
+<li>Old Aunt Kate,                                     <a href="#Page_179">179</a></li>
+<li>Origin of the Snake, The,                          <a href="#Page_165">165</a></li>
+</ul>
+
+<ul>
+<li>Paying Debts with Kicks,                           <a href="#Page_184">184</a></li>
+<li>Periwinkle,                                        <a href="#Page_201">201</a></li>
+<li>Pig Tail,                                          <a href="#Page_153">153</a></li>
+<li>'Possum up the Gum Stump,                            <a href="#Page_3">3</a></li>
+<li>Pretty Little Girl,                                <a href="#Page_172">172</a></li>
+<li>Pretty Pair of Chickens, A,                        <a href="#Page_181">181</a></li>
+</ul>
+
+<ul>
+<li>Rabbit Hash,                                       <a href="#Page_203">203</a></li>
+<li>Rabbit Soup,                                        <a href="#Page_33">33</a></li>
+<li>Race-Starter's Rhyme, A,                           <a href="#Page_180">180</a></li>
+<li>Randsome Tantsome,                                 <a href="#Page_202">202</a></li>
+<li>Raw Head and Bloody Bones,                         <a href="#Page_174">174</a></li>
+<li>Redhead Woodpecker,                                <a href="#Page_178">178</a></li>
+</ul>
+
+<ul>
+<li>Sam is a Clever Fellow,                            <a href="#Page_151">151</a></li>
+<li>Shoo! Shoo!,                                       <a href="#Page_196">196</a></li>
+<li>Stealing a Ride,                                   <a href="#Page_188">188</a></li>
+<li>Stick-a-ma-stew,                                   <a href="#Page_155">155</a></li>
+<li>Strange Family, A,                                 <a href="#Page_171">171</a></li>
+<li>Strange Old Woman, A,                              <a href="#Page_178">178</a></li>
+<li>Strong Hands,                                      <a href="#Page_167">167</a></li>
+</ul>
+
+<ul>
+<li>Tails,                                               <a href="#Page_5">5</a></li>
+<li>Taking a Walk,                                     <a href="#Page_183">183</a></li>
+<li>Teaching Table Manners,                            <a href="#Page_197">197</a>
+<!-- Page 343 --><span class='pagenum'><a name="Page_343" id="Page_343">[Pg 343]</a></span></li>
+<li>Too Much Watermelon,                               <a href="#Page_182">182</a></li>
+<li>Training the Boy,                                  <a href="#Page_201">201</a></li>
+<li>Tree Frogs,                                        <a href="#Page_168">168</a></li>
+<li>Turtle's Song, The,                                 <a href="#Page_30">30</a></li>
+<li>Two Sick Negro Boys,                               <a href="#Page_173">173</a></li>
+</ul>
+
+<ul>
+<li>Washing Mamma's Dishes,                            <a href="#Page_189">189</a></li>
+<li>What Will We Do for Bacon?,                        <a href="#Page_185">185</a></li>
+<li>Wild Hog Hunt,                                     <a href="#Page_165">165</a></li>
+<li>Willie Wee,                                        <a href="#Page_189">189</a></li>
+</ul>
+
+<ul>
+<li>You Had Better Mind Master,                        <a href="#Page_126">126</a></li>
+<li>Young Master and Old Master,                       <a href="#Page_169">169</a></li>
+</ul>
+
+<h3 class="ital">Charms and Superstitions</h3>
+
+<ul>
+<li>Bat! Bat!,                                         <a href="#Page_202">202</a></li>
+<li>Black-eyed Peas for Luck,                          <a href="#Page_200">200</a></li>
+</ul>
+
+<ul>
+<li>Don't Sing before Breakfast,                       <a href="#Page_186">186</a></li>
+</ul>
+
+<ul>
+<li>How to Make it Rain,                               <a href="#Page_101">101</a></li>
+</ul>
+
+<ul>
+<li>Jaybird,                                            <a href="#Page_14">14</a></li>
+</ul>
+
+<ul>
+<li>Molly Cottontail, or Graveyard Rabbit,               <a href="#Page_8">8</a></li>
+<li>My Speckled Hen,                                   <a href="#Page_170">170</a></li>
+</ul>
+
+<ul>
+<li>Periwinkle,                                        <a href="#Page_201">201</a></li>
+</ul>
+
+<ul>
+<li>Speak Softly,                                      <a href="#Page_214">214</a></li>
+</ul>
+
+<h3 class="ital">Hunting Songs</h3>
+
+<ul>
+<li>Fox and Geese,                                      <a href="#Page_40">40</a></li>
+</ul>
+
+<ul>
+<li>He will Get Mr. Coon,                               <a href="#Page_28">28</a></li>
+<li>Hunting Camp, The,                                  <a href="#Page_43">43</a></li>
+</ul>
+
+<ul>
+<li>Miss Slippy Sloppy,                                <a href="#Page_100">100</a></li>
+</ul>
+
+<ul>
+<li>Opossum Hunt, An,                                  <a href="#Page_23"> 23</a></li>
+</ul>
+
+<ul>
+<li>Rattler,                                            <a href="#Page_46">46</a></li>
+</ul>
+
+<h3 class="ital">Drinking Songs</h3>
+
+<ul>
+<li>Aunt Dinah Drunk,                                   <a href="#Page_53">53</a></li>
+</ul>
+
+<ul>
+<li>Bring on your Hot Corn,                             <a href="#Page_29">29</a></li>
+</ul>
+
+<ul>
+<li>Little Red Hen,                                     <a href="#Page_37">37</a></li>
+</ul>
+
+<h3 class="ital">Wise and Gnomic Sayings</h3>
+
+<ul>
+<li>Brag and Boast,                                    <a href="#Page_213">213</a></li>
+</ul>
+
+<ul>
+<li>Don't Tell All You Know,                           <a href="#Page_214">214</a>
+<!-- Page 344 --><span class='pagenum'><a name="Page_344" id="Page_344">[Pg 344]</a></span></li>
+<li>Drinking Razor Soup,                               <a href="#Page_211">211</a></li>
+</ul>
+
+<ul>
+<li>Fed from the Tree of Knowledge,                    <a href="#Page_212">212</a></li>
+</ul>
+
+<ul>
+<li>How to Plant and Cultivate Seeds,                  <a href="#Page_208">208</a></li>
+</ul>
+
+<ul>
+<li>Independent,                                       <a href="#Page_209">209</a></li>
+</ul>
+
+<ul>
+<li>Learn to Count,                                    <a href="#Page_207">207</a></li>
+</ul>
+
+<ul>
+<li>Man of Words, A,                                   <a href="#Page_208">208</a></li>
+</ul>
+
+<ul>
+<li>Old Man Know-all,                                  <a href="#Page_211">211</a></li>
+</ul>
+
+<ul>
+<li>Self-control,                                      <a href="#Page_213">213</a></li>
+<li>Speak Softly,                                      <a href="#Page_214">214</a></li>
+<li>Still Water Runs Deep,                             <a href="#Page_214">214</a></li>
+</ul>
+
+<ul>
+<li>Temperance Rhyme,                                  <a href="#Page_209">209</a></li>
+<li>That Hypocrite,                                    <a href="#Page_210">210</a></li>
+<li>Tongue, The,                                       <a href="#Page_212">212</a></li>
+</ul>
+
+<ul>
+<li>War is On, The,                                    <a href="#Page_207">207</a></li>
+</ul>
+
+<h3 class="ital">Harvest Songs</h3>
+
+<ul>
+<li>Harvest Song,                                       <a href="#Page_57">57</a></li>
+</ul>
+
+<h3 class="ital">Biblical and Religious Themes</h3>
+
+<ul>
+<li>Ark, The,                                           <a href="#Page_44">44</a></li>
+</ul>
+
+<ul>
+<li>How to Keep or Kill the Devil,                     <a href="#Page_104">104</a></li>
+</ul>
+
+<ul>
+<li>Jawbone,                                            <a href="#Page_12">12</a></li>
+<li>Jonah's Band,                                        <a href="#Page_1">1</a></li>
+</ul>
+
+<ul>
+<li>Satan,                                              <a href="#Page_93">93</a></li>
+</ul>
+
+<h3 class="ital">Play Songs</h3>
+
+<ul>
+<li>Anchor Line,                                      <a href="#Page_87">87</a></li>
+</ul>
+
+<ul>
+<li>Budget, A,                                          <a href="#Page_79">79</a></li>
+</ul>
+
+<ul>
+<li>Did You Feed my Cow?,                               <a href="#Page_78">78</a></li>
+<li>Down in the Lonesome Garden,                        <a href="#Page_89">89</a></li>
+</ul>
+
+<ul>
+<li>Green Oak Tree! Rocky-o!,                           <a href="#Page_81">81</a></li>
+</ul>
+
+<ul>
+<li>Hawk and Buzzard,                                   <a href="#Page_75">75</a></li>
+<li>He Loves Sugar and Tea,                             <a href="#Page_84">84</a></li>
+<li>Here Comes a Young Man Courting,                    <a href="#Page_85">85</a></li>
+</ul>
+
+<ul>
+<li>Kissing Song,                                       <a href="#Page_82">82</a></li>
+<li>Kneel on This Carpet,                               <a href="#Page_82">82</a></li>
+</ul>
+
+<ul>
+<li>Likes and Dislikes,                                 <a href="#Page_76">76</a></li>
+<li>Little Sister, Won't You Marry Me?,                 <a href="#Page_90">90</a></li>
+</ul>
+
+<ul>
+<li>Old Black Gnats, The,                               <a href="#Page_80">80</a>
+<!-- Page 345 --><span class='pagenum'><a name="Page_345" id="Page_345">[Pg 345]</a></span></li>
+</ul>
+
+<ul>
+<li>Peep Squirrel,                                      <a href="#Page_78">78</a></li>
+<li>Precious Things,                                    <a href="#Page_84">84</a></li>
+</ul>
+
+<ul>
+<li>Raise a "Rucus" To-night,                            <a href="#Page_90">90</a></li>
+</ul>
+
+<ul>
+<li>Sallie,                                             <a href="#Page_87">87</a></li>
+<li>Salt-rising Bread,                                  <a href="#Page_83">83</a></li>
+<li>Song to the Runaway Slave,                          <a href="#Page_88">88</a></li>
+<li>Sugar Loaf Tea,                                     <a href="#Page_81">81</a></li>
+<li>Susan Jane,                                         <a href="#Page_77">77</a></li>
+<li>Susie Girl,                                         <a href="#Page_76">76</a></li>
+<li>Sweet Pinks and Roses,                              <a href="#Page_92">92</a></li>
+</ul>
+
+<h3 class="ital">Miscellaneous</h3>
+
+<ul>
+<li>Antebellum Courtship Inquiry,                      <a href="#Page_135">135</a></li>
+<li>Antebellum Marriage Proposal,                      <a href="#Page_137">137</a></li>
+<li>As I Went to Shiloh,                                <a href="#Page_13">13</a></li>
+<li>Aunt Jemima,                                       <a href="#Page_107">107</a></li>
+</ul>
+
+<ul>
+<li>Bad Features,                                      <a href="#Page_100">100</a></li>
+<li>Bedbug,                                             <a href="#Page_96">96</a></li>
+<li>Blindfold Play Chant,                               <a href="#Page_73">73</a></li>
+<li>Bought Me a Wife,                                  <a href="#Page_145">145</a></li>
+</ul>
+
+<ul>
+<li>Captain Dime,                                        <a href="#Page_5">5</a></li>
+<li>Care in Bread-making,                              <a href="#Page_112">112</a></li>
+<li>Caught by the Witch Play,                           <a href="#Page_74">74</a></li>
+<li>Christmas Turkey,                                   <a href="#Page_98">98</a></li>
+<li>Clandestine Letter, A,                             <a href="#Page_136">136</a></li>
+<li>Coffee Grows on White Folks' Trees,                <a href="#Page_107">107</a></li>
+<li>College Ox, The,                                   <a href="#Page_112">112</a></li>
+<li>Courtship,                                         <a href="#Page_138">138</a></li>
+<li>Crooked Nose Jane,                                  <a href="#Page_99">99</a></li>
+<li>Crossing a Foot-Log,                               <a href="#Page_109">109</a></li>
+</ul>
+
+<ul>
+<li><ins class="correction" title="original reads: Day's Happenings, A,">Day's Happiness, A,</ins>                               <a href="#Page_125">125</a></li>
+<li>Destitute Former Slave Owners,                      <a href="#Page_97">97</a></li>
+<li>Do I Love You?,                                    <a href="#Page_129">129</a></li>
+<li>Does Money Talk?,                                  <a href="#Page_113">113</a></li>
+</ul>
+
+<ul>
+<li>Elephant, The,                                     <a href="#Page_116">116</a></li>
+</ul>
+
+<ul>
+<li>Fattening Frogs for Snakes,                         <a href="#Page_97">97</a></li>
+<li>Few Negroes by States, A,                          <a href="#Page_117">117</a>
+<!-- Page 346 --><span class='pagenum'><a name="Page_346" id="Page_346">[Pg 346]</a></span></li>
+<li>Fine Plaster, A,                                   <a href="#Page_124">124</a></li>
+<li>Fox and Geese Play,                                 <a href="#Page_73">73</a></li>
+<li>Fox and Rabbit Drinking Proposition,               <a href="#Page_111">111</a></li>
+<li>Frightened Away from a Chicken-Roost,               <a href="#Page_95">95</a></li>
+</ul>
+
+<ul>
+<li>Going to be Good Slaves,                           <a href="#Page_101">101</a></li>
+<li>Good-by, Wife!,                                     <a href="#Page_148">148</a></li>
+<li>Goosie-Gander Play Rhyme,                           <a href="#Page_75">75</a></li>
+</ul>
+
+<ul>
+<li>Half Way Doings,                                   <a href="#Page_120">120</a></li>
+<li>Hawk and Chickens Play,                             <a href="#Page_74">74</a></li>
+<li>He Paid Me Seven (Parody),                         <a href="#Page_122">122</a></li>
+<li>Hear-say,                                           <a href="#Page_114">114</a></li>
+<li>How to Get to Glory Land,                           <a href="#Page_96">96</a></li>
+<li>How to Please a Preacher,                          <a href="#Page_117">117</a></li>
+</ul>
+
+<ul>
+<li>I Walked the Road,                                 <a href="#Page_139">139</a></li>
+<li>I'll Eat when I'm Hungry,                          <a href="#Page_114">114</a></li>
+<li>I'll Get You, Rabbit!,                              <a href="#Page_116">116</a></li>
+<li>I'll Wear Me a Cotton Dress,                       <a href="#Page_118">118</a></li>
+<li>I'm a "Round-Town" Gentleman,                      <a href="#Page_108">108</a></li>
+<li>If You Frown,                                      <a href="#Page_137">137</a></li>
+<li>Indian Flea,                                        <a href="#Page_12">12</a></li>
+<li>Invited to Take the Escort's Arm,                  <a href="#Page_135">135</a></li>
+</ul>
+
+<ul>
+<li>Joe and Malinda Jane,                                <a href="#Page_4">4</a></li>
+<li>John Henry,                                        <a href="#Page_105">105</a></li>
+<li>Johnny Bigfoot,                                     <a href="#Page_93">93</a></li>
+<li>Juba,                                                <a href="#Page_9">9</a></li>
+<li>Jump Jim Crow,                                      <a href="#Page_13">13</a></li>
+</ul>
+
+<ul>
+<li>Kept Busy,                                         <a href="#Page_109">109</a></li>
+</ul>
+
+<ul>
+<li>Let's Marry Courtship,                             <a href="#Page_138">138</a></li>
+<li>Looking for a Fight,                               <a href="#Page_118">118</a></li>
+<li>Love is Just a Thing of Fancy,                       <a href="#Page_2">2</a></li>
+</ul>
+
+<ul>
+<li>Mule's Kick, The,                                   <a href="#Page_98">98</a></li>
+<li>Mule's Nature, The,                                <a href="#Page_108">108</a></li>
+</ul>
+
+<ul>
+<li>Negro Soldier's Civil War Chant,                   <a href="#Page_115">115</a></li>
+<li>Negroes Never Die,                                  <a href="#Page_11">11</a>
+<!-- Page 347 --><span class='pagenum'><a name="Page_347" id="Page_347">[Pg 347]</a></span></li>
+<li>Newly Weds, The,                                 <a href="#Page_144">144</a></li>
+<li>No Room to Poke Fun,                                <a href="#Page_99">99</a></li>
+</ul>
+
+<ul>
+<li>On Top of the Pot,                                  <a href="#Page_10">10</a></li>
+<li>Our Old Mule,                                      <a href="#Page_112">112</a></li>
+<li>Outrunning the Devil,                              <a href="#Page_103">103</a></li>
+</ul>
+
+<ul>
+<li>Page's Geese,                                      <a href="#Page_102">102</a></li>
+<li>Parody&mdash;He Paid Me Seven,                     <a href="#Page_122">122</a></li>
+<li>Parody on "Now I Lay Me Down to Sleep",            <a href="#Page_115">115</a></li>
+<li>Parody on "Reign, Master Jesus! Reign!",           <a href="#Page_122">122</a></li>
+<li>Presenting a Hat to Phoebe,                        <a href="#Page_140">140</a></li>
+<li>Pretty Little Pink,                                <a href="#Page_127">127</a></li>
+</ul>
+
+<ul>
+<li>Rascal, The,                                       <a href="#Page_106">106</a></li>
+<li>Request to Sell, A,                                <a href="#Page_123">123</a></li>
+</ul>
+
+<ul>
+<li>Sex Laugh,                                         <a href="#Page_102">102</a></li>
+<li>Short Letter, A,                                   <a href="#Page_113">113</a></li>
+<li>Slave Marriage Ceremony Supplement,                <a href="#Page_143">143</a></li>
+<li>Sparking or Courting,                              <a href="#Page_136">136</a></li>
+<li>Stand Back, Black Man,                              <a href="#Page_10">10</a></li>
+<li>Still Water Creek,                                   <a href="#Page_2">2</a></li>
+</ul>
+
+<ul>
+<li>"They Steal" Gossip,                               <a href="#Page_110">110</a></li>
+<li>This Sun is Hot,                                   <a href="#Page_108">108</a></li>
+<li>Thrifty Slave, The,                                 <a href="#Page_94">94</a></li>
+<li>To Win a Yellow Girl,                              <a href="#Page_102">102</a></li>
+<li>Turkey Funeral,                                    <a href="#Page_111">111</a></li>
+<li>T-U-Turkey,                                          <a href="#Page_6">6</a></li>
+<li>Two Times One,                                     <a href="#Page_121">121</a></li>
+</ul>
+
+<ul>
+<li>Uncle Jerry Fants,                                 <a href="#Page_109">109</a></li>
+</ul>
+
+<ul>
+<li>Walk, Talk, Chicken With your Head Pecked,           <a href="#Page_4">4</a></li>
+<li>We'll Stick to the Hoe,                            <a href="#Page_123">123</a></li>
+<li>When I Go to Marry,                                <a href="#Page_144">144</a></li>
+<li>When I Was a Roustabout,                           <a href="#Page_145">145</a></li>
+<li>Why Look at Me?,                                   <a href="#Page_113">113</a></li>
+<li>Wild Negro Bill,                                    <a href="#Page_94">94</a></li>
+<li>Wind Bag, A,                                       <a href="#Page_101">101</a></li>
+</ul>
+
+
+
+
+
+
+
+
+<pre>
+
+
+
+
+
+End of the Project Gutenberg EBook of Negro Folk Rhymes, by Thomas W. Talley
+
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+</body>
+</html>
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+The Project Gutenberg EBook of Negro Folk Rhymes, by Thomas W. Talley
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Negro Folk Rhymes
+       Wise and Otherwise: With a Study
+
+Author: Thomas W. Talley
+
+Release Date: November 7, 2008 [EBook #27195]
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK NEGRO FOLK RHYMES ***
+
+
+
+
+Produced by Audrey Longhurst, S.D. and the Online
+Distributed Proofreading Team at http://www.pgdp.net
+
+
+
+
+
+
++----------------------------------------------------------------------+
+
+Transcriber's Note: Other than the minor corrections and changes listed
+at the end of this text, all spelling and punctuation is as it appeared
+in the original. Musical notations appearing in the original book have
+been replaced with [music]. Macrons and breves were used as
+pronunciation aids for vowels. They appear here as [=a] for macrons and
+[)a] for breves. The placement of footnote markers was irregular in the
+original--this has been retained.
+
++----------------------------------------------------------------------+
+
+
+
+
+                       NEGRO FOLK RHYMES
+
+
+
+
+                     [Publisher's Device]
+
+                     THE MACMILLAN COMPANY
+              NEW YORK . BOSTON . CHICAGO . DALLAS
+                    ATLANTA . SAN FRANCISCO
+
+                    MACMILLAN & CO., Limited
+                   LONDON . BOMBAY . CALCUTTA
+                           MELBOURNE
+
+                THE MACMILLAN CO. OF CANADA, Ltd.
+                            TORONTO
+
+
+
+
+                       NEGRO FOLK RHYMES
+                      _Wise and Otherwise_
+
+                          WITH A STUDY
+
+                               BY
+                        THOMAS W. TALLEY,
+                       OF FISK UNIVERSITY
+
+                          [Decoration]
+
+                            New York
+                      THE MACMILLAN COMPANY
+                              1922
+
+                      _All rights reserved_
+
+
+              PRINTED IN THE UNITED STATES OF AMERICA
+
+
+                        Copyright, 1922,
+                    By THE MACMILLAN COMPANY.
+                             * * *
+            Set up and printed. Published January, 1922.
+
+
+                            Press of
+                  J. J. Little & Ives Company
+                        New York, U.S.A.
+
+
+
+
+INTRODUCTION
+
+
+Of the making of books by individual authors there is no end; but a
+cultivated literary taste among the exceptional few has rendered almost
+impossible the production of genuine folk-songs. The spectacle,
+therefore, of a homogeneous throng of partly civilized people dancing to
+the music of crude instruments and evolving out of dance-rhythm a
+lyrical or narrative utterance in poetic form is sufficiently rare in
+the nineteenth century to challenge immediate attention. In _Negro Folk
+Rhymes_ is to be found no inconsiderable part of the musical and poetic
+life-records of a people; the compiler presents an arresting volume
+which, in addition to being a pioneer and practically unique in its
+field, is as nearly exhaustive as a sympathetic understanding of the
+Negro mind, careful research, and labor of love can make it. Professor
+Talley of Fisk University has spared himself no pains in collecting and
+piecing together every attainable scrap and fragment of secular rhyme
+which might help in adequately interpreting the inner life of his own
+people.
+
+Being the expression of a race in, or just emerging from bondage, these
+songs may at first seem to some readers trivial and almost wholly devoid
+of literary merit. In phraseology they may appear crude, lacking in that
+elegance and finish ordinarily associated with poetic excellence; in
+imagery they are at times exceedingly winter-starved, mediocre, common,
+drab, scarcely ever rising above the unhappy environment of the singers.
+The outlook upon life and nature is, for the most part, one of
+imaginative simplicity and child-like naivete; superstitions crowd in
+upon a worldly wisdom that is elementary, practical, and obvious; and a
+warped and crooked human nature, developed and fostered by
+circumstances, shows frequently through the lines. What else might be
+expected? At the time when these rhymes were in process of being created
+the conditions under which the American Negro lived and labored were not
+calculated to inspire him with a desire for the highest artistic
+expression. Restricted, cramped, bound in unwilling servitude, he looked
+about him in his miserable little world to see whatever of the beautiful
+or happy he might find; that which he discovered is pathetically slight,
+but, such as it is, it served to keep alive his stunted artist-soul
+under the most adverse circumstances. He saw the sweet pinks under a
+blue sky, or observed the fading violets and the roses that fall, as he
+passed to a tryst under the oak trees of a forest, and wrought these
+things into his songs of love and tenderness. Friendless and otherwise
+without companionship he lived in imagination with the beasts and birds
+of the great out-of-doors; he knew personally Mr. Coon, Brother Rabbit,
+Mr. 'Possum and their associates of the wild; Judge Buzzard and Sister
+Turkey appealed to his fancy as offering material for what he supposed
+to be poetic treatment. Wherever he might find anything in his lowly
+position which seemed to him truly useful or beautiful, he seized upon
+it and wove about it the sweetest song he could sing. The result is not
+so much poetry of a high order as a valuable illustration of the
+persistence of artist-impulses even in slavery.
+
+In some of these folk-songs, however, may be found certain qualities
+which give them dignity and worth. They are, when properly presented,
+rhythmical to the point of perfection. I myself have heard many of them
+chanted with and without the accompaniment of clapping hands, stamping
+feet, and swaying bodies. Unfortunately a large part of their liquid
+melody and flexibility of movement is lost through confinement in cold
+print; but when they are heard from a distance on quiet summer nights
+or clear Southern mornings, even the most fastidious ear is satisfied
+with the rhythmic pulse of them. That pathos of the Negro character
+which can never be quite adequately caught in words or transcribed in
+music is then augmented and intensified by the peculiar quality of the
+Negro voice, rich in overtones, quavering, weird, cadenced, throbbing
+with the sufferings of a race. Or perhaps that well-developed sense of
+humor which has, for more than a century, made ancestral sorrows
+bearable finds fuller expression in the lilting turn of a note than in
+the flashes of wit which abundantly enliven the pages of this volume.
+There is one lyric in particular which, in evident sincerity of feeling,
+simple and unaffected grace, and regularity of form, appeals to me as
+having intrinsic literary value:
+
+    She hug' me, an' she kiss' me,
+    She wrung my han' an' cried.
+    She said I wus de sweetes' thing
+    Dat ever lived or died.
+
+    She hug' me an' she kiss' me.
+    Oh Heaben! De touch o' her han'!
+    She said I wus de puttiest thing
+    In de shape o' mortal man.
+
+    I told her dat I love' her,
+    Dat my love wus bed-cord strong;
+    Den I axed her w'en she'd have me,
+    An' she jes' say, "Go 'long!"
+
+There is also a dramatic quality about many of these rhymes which must
+not be overlooked. It has long been my observation that the Negro is
+possessed by nature of considerable, though not as yet highly developed,
+histrionic ability; he takes delight in acting out in pantomime whatever
+he may be relating in song or story. It is not surprising, then, to find
+that the play-rhymes, originating from the "call" and "response," are
+really little dramas when presented in their proper settings. "Caught By
+The Witch" would not be ineffective if, on a dark night, it were acted
+in the vicinity of a graveyard! And one ballad--if I may be permitted to
+dignify it by that name--called "Promises of Freedom" is characterized
+by an unadorned narrative style and a dramatic ending which are
+associated with the best English folk-ballads. The singer tells simply
+and, one feels, with a grim impersonality of how his mistress promised
+to set him free; it seemed as if she would never die--but "she's somehow
+gone"! His master likewise made promises,
+
+    Yes, my ole Mosser promise' me;
+    But "his papers" didn't leave me free.
+    A dose of pizen he'pped 'im along.
+    May de Devil preach 'is f[=u]ner'l song.
+
+The manner of this conclusion is strikingly like that of the Scottish
+ballad, "Edward,"
+
+    The curse of hell frae me sall ye beir,
+              Mither, Mither,
+    The curse of hell frae me sall ye beir,
+    Sic counseils ye gave to me O.
+
+In both a story of cruelty is suggested in a single artistic line and
+ended with startling, dramatic abruptness.
+
+In fact, these two songs probably had their ultimate origin in not
+widely dissimilar types of illiterate, unsophisticated human society.
+Professor Talley's "Study in Negro Folk Rhymes," appended to this volume
+of songs, is illuminating. One may not be disposed to accept without
+considerable modification his theories entire; still his account from
+personal, first-hand knowledge of the beginnings and possible evolution
+of certain rhymes in this collection is apparently authentic. Here we
+have again, in the nineteenth century, the record of a singing, dancing
+people creating by a process approximating communal authorship a mass
+of verse embodying tribal memories, ancestral superstitions, and racial
+wisdom handed down from generation to generation through oral tradition.
+These are genuine folk-songs--lyrics, ballads, rhymes--in which are
+crystallized the thought and feeling, the universally shared lore of a
+folk. Recent theorizers on poetic origins who would insist upon
+individual as opposed to community authorship of certain types of
+song-narrative might do well to consider Professor Talley's
+characteristic study. And students of comparative literature who love to
+recreate the life of a tribe or nation from its song and story will
+discover in this collection a mine of interesting material.
+
+Fisk University, the center of Negro culture in America, is to be
+congratulated upon having initiated the gathering and preservation of
+these relics, a valuable heritage from the past. Just how important for
+literature this heritage may prove to be will not appear until this
+institution--and others with like purposes--has fully developed by
+cultivation, training, and careful fostering the artistic impulses so
+abundantly a part of the Negro character. A race which has produced,
+under the most disheartening conditions, a mass of folk-poetry such as
+_Negro Folk Rhymes_ may be expected to create with unlimited
+opportunities for self-development, a literature and a distinctive music
+of superior quality.
+
+                                                  WALTER CLYDE CURRY.
+
+  Vanderbilt University,
+  September 30, 1921.
+
+
+
+
+PART I
+
+NEGRO FOLK RHYMES
+
+
+
+
+DANCE RHYME SECTION
+
+
+JONAH'S BAND PARTY
+
+    Setch a kickin' up san'! Jonah's Ban'!
+    Setch a kickin' up san'! Jonah's Ban'!
+    "Han's up sixteen! Circle to de right!
+    We's gwine to git big eatin's here to-night."
+
+    Setch a kickin' up san'! Jonah's Ban'!
+    Setch a kickin' up san'! Jonah's Ban'!
+    "Raise yo' right foot, kick it up high,
+    Knock dat [1]Mobile Buck in de eye."
+
+    Setch a kickin' up san'! Jonah's Ban'!
+    Setch a kickin' up san'! Jonah's Ban'!
+    "Stan' up, flat foot, [1]Jump dem Bars!
+    [1]Karo back'ards lak a train o' kyars."
+
+    Setch a kickin' up san'! Jonah's Ban'!
+    Setch a kickin' up san'! Jonah's Ban'!
+    "Dance 'round, Mistiss, show 'em de p'int;
+    Dat Nigger don't know how to [1]Coonjaint."
+
+[1] These are dance steps. For explanation read the Study in Negro Folk
+Rhymes.
+
+
+LOVE IS JUST A THING OF FANCY
+
+    Love is jes a thing o' fancy,
+    Beauty's jes a blossom;
+    If you wants to git y[=o]' finger bit,
+    Stick it at a 'possum.
+
+    Beauty, it's jes skin deep;
+    Ugly, it's to de bone.
+    Beauty, it'll jes fade 'way;
+    But Ugly'll h[=o]l' 'er own.
+
+
+STILL WATER CREEK
+
+    'Way down yon'er on Still Water Creek,
+    I got stalded an' stayed a week.
+    I see'd Injun Puddin and Punkin pie,
+    But de black cat stick 'em in de yaller cat's eye.
+
+    'Way down yon'er on Still Water Creek,
+    De Niggers grows up some ten or twelve feet.
+    Dey goes to bed but dere hain't no use,
+    Caze deir feet sticks out fer de chickens t' roost.
+
+    I got hongry on Still Water Creek,
+    De mud to de hub an' de hoss britchin weak.
+    I stewed bullfrog chitlins, baked polecat pie;
+    If I goes back dar, I sh[=o]'s gwine to die.
+
+
+'POSSUM UP THE GUM STUMP
+
+    'Possum up de gum stump,
+    Dat raccoon in de holler;
+    Twis' 'im out, an' git 'im down,
+    An' I'll gin you a half a doller.
+
+    'Possum up de gum stump,
+    Yes, cooney in de holler;
+    A pretty gal down my house
+    Jes as fat as she can waller.
+
+    'Possum up de gum stump,
+    His jaws is black an' dirty;
+    To come an' kiss you, pretty gal,
+    I'd run lak a gobbler tucky.
+
+    'Possum up de gum stump,
+    A good man's hard to f[=i]n';
+    You'd better love me, pretty gal,
+    You'll git de yudder k[=i]n'.
+
+
+JOE AND MALINDA JANE
+
+    Ole Joe jes swore upon 'is life
+    He'd make Merlindy Jane 'is wife.
+    W'en she hear 'im up 'is love an' tell,
+    She jumped in a bar'l o' mussel shell.
+    She scrape 'er back till de skin come off.
+    Nex' day she die wid de Whoopin' Cough.
+
+
+WALK, TALK, CHICKEN WITH YOUR HEAD PECKED!
+
+    Walk, talk, chicken wid y[=o]' head pecked!
+    You can crow w'en youse been dead.
+    Walk, talk, chicken wid y[=o]' head pecked!
+    You can h[=o]l' high y[=o]' bloody head.
+
+    You's whooped dat Blue Hen's Chicken,
+    You's beat 'im at his game.
+    If dere's some fedders on him,
+    Fer dat you's not to blame.
+
+    Walk, talk, chicken wid y[=o]' head pecked!
+    You beat ole Johnny Blue!
+    Walk, talk, chicken wid y[=o]' head pecked!
+    Say: "Cock-a-doo-dle-doo--!"
+
+
+TAILS
+
+    De coon's got a long ringed bushy tail,
+    De 'possum's tail is bare;
+    Dat rabbit hain't got no tail 'tall,
+    'Cep' a liddle bunch o' hair.
+
+    De gobbler's got a big fan tail,
+    De pattridge's tail is small;
+    Dat peacock's tail 's got great big eyes,
+    But dey don't see nothin' 'tall.
+
+
+CAPTAIN DIME
+
+    Cappun Dime is a fine w'ite man.
+    He wash his face in a fry'n' pan,
+    He comb his head wid a waggin wheel,
+    An' he die wid de toothache in his heel.
+
+    Cappun Dime is a mighty fine feller,
+    An' he sh[=o]' play kyards wid de Niggers in de cellar,
+    But he will git drunk, an' he won't smoke a pipe,
+    Den he will pull de watermillions 'fore dey gits ripe.
+
+
+CROSSING THE RIVER
+
+    I went down to de river an' I couldn' git 'cross.
+    I jumped on er mule an' I thought 'e wus er hoss.
+    Dat mule 'e wa'k in an' git mired up in de san';
+    You'd oughter see'd dis Nigger make back fer de lan'!
+
+    I want to cross de river but I caint git 'cross;
+    So I mounted on a ram, fer I thought 'e wus er hoss.
+    I plunged him in, but he sorter fail to swim;
+    An' I give five dollars fer to git 'im out ag'in.
+
+    Yes, I went down to de river an' I couldn' git 'cross,
+    So I give a whole dollar fer a ole blin' hoss;
+    Den I souzed him in an' he sink 'stead o' swim.
+    Do you know I got wet clean to my ole hat brim?
+
+
+T-U-TURKEY
+
+    T-u, tucky, T-u, ti.
+    T-u, tucky, buzzard's eye.
+    T-u, tucky, T-u, ting.
+    T-u, tucky, buzzard's wing.
+    Oh, Mistah Washin'ton! Don't whoop me,
+    Whoop dat Nigger Back 'hind dat tree.
+    He stole tucky, I didn' steal none.
+    Go wuk him in de co'n field jes fer fun.
+
+
+CHICKEN IN THE BREAD TRAY
+
+    "Auntie, will y[=o]' dog bite?"--
+        "No, Chile! No!"
+    Chicken in de bread tray
+        A makin' up dough.
+
+    "Auntie, will y[=o]' broom hit?"--
+        "Yes, Chile!" Pop!
+    Chicken in de bread tray;
+        "Flop! Flop! Flop!"
+
+    "Auntie, will y[=o]' oven bake?"--
+        "Yes. Jes fry!"--
+    "What's dat chicken good fer?"--
+        "Pie! Pie! Pie!"
+
+    "Auntie, is y[=o]' pie good?"--
+        "Good as you could 'spec'."
+    Chicken in de bread tray;
+        "Peck! Peck! Peck!"
+
+
+MOLLY COTTONTAIL, OR, GRAVEYARD RABBIT
+
+    Ole Molly Cottontail,
+    At night, w'en de moon's pale;
+    You don't fail to tu'n tail,
+    You always gives me leg bail.[2]
+
+    Molly in de Bramble-brier,
+    Let me git a little nigher;
+    Prickly-pear, it sting lak fire!
+    Do please come pick out de brier!
+
+    Molly in de pale moonlight,
+    Y[=o]' tail is sh[=o] a pretty white;
+    You takes it fer 'way out'n sight.
+    "Molly! Molly! Molly Bright!"
+
+    Ole Molly Cottontail,
+    You sets up on a rotten rail!
+    You tears through de graveyard!
+    You makes dem ugly [3]hants wail.
+
+    Ole Molly Cottontail,
+    Won't you be shore not to fail
+    [4]To give me y[=o]' right h[=i]n' foot?
+    My luck, it won't be fer sale.
+
+[2] Leg bail = to run away.
+
+[3] Hants = ghosts or spirits.
+
+[4] This embraces the old superstition that carrying in one's pocket the
+right hind foot of a rabbit, which has habitually lived about a
+cemetery, brings good luck to its possessor.
+
+
+JUBA[5]
+
+    Juba dis, an' Juba dat,
+    Juba [6]skin dat Yaller Cat. Juba! Juba!
+
+    Juba jump an' Juba sing.
+    Juba, [6]cut dat Pigeon's Wing. Juba! Juba!
+
+    Juba, kick off Juba's shoe.
+    Juba, dance dat [6]Jubal Jew. Juba! Juba!
+
+    Juba, whirl dat foot about.
+    Juba, blow dat candle out. Juba! Juba!
+
+    Juba circle, [6]Raise de Latch.
+    Juba do dat [6]Long Dog Scratch. Juba! Juba!
+
+[5] This peculiar kind of dance rhyme is explained in the Study in Negro
+Folk Rhymes.
+
+[6] The expressions marked [6] are various kinds of dance steps.
+
+
+ON TOP OF THE POT
+
+    Wild goose gallop an' gander trot;
+    Walk about, Mistiss, on top o' de pot!
+
+    Hog jowl bilin', an' tunnup greens hot,
+    Walk about, Billie, on top o' de pot!
+
+    Chitlins, hog years, all on de spot,
+    Walk about, ladies, on top o' de pot!
+
+
+STAND BACK, BLACK MAN[7]
+
+    _Oh!_
+          Stan' back, black man,
+          You cain't shine;
+          Y[=o]' lips is too thick,
+          An' you hain't my k[=i]n'.
+
+    _Aw!_
+          Git 'way, black man,
+          You jes haint fine;
+          I'se done quit foolin'
+          Wid de nappy-headed kind.
+
+    _Say?_
+          Stan' back, black man!
+          Cain't you see
+          Dat a kinky-headed chap
+          Hain't nothin' side o' me?
+
+[7] In a few places in the South, just following the Civil War, the
+Mulattoes organized themselves into a little guild known as "The Blue
+Vein Circle," from which those who were black were excluded. This is one
+of their rhymes.
+
+
+NEGROES NEVER DIE
+
+    Nigger! Nigger never die!
+    He gits choked on Chicken pie.
+    Black face, white shiny eye. Nigger! Nigger!
+
+    Nigger! Nigger never knows!
+    Mashed nose, an' crooked toes;
+    Dat's de way de Nigger goes. Nigger! Nigger!
+
+    Nigger! Nigger always sing;
+    Jump up, cut de Pidgeon's wing;
+    Whirl, an' give his feet a fling. Nigger! Nigger!
+
+
+JAWBONE
+
+    Samson, shout! Samson, moan!
+    Samson, bring on y[=o]' Jawbone.
+
+    Jawbone, walk! Jawbone, talk!
+    Jawbone, eat wid a knife an fo'k.
+
+    Walk, Jawbone! Jinny, come alon'!
+    Yon'er goes Sally wid de bootees on.
+
+    Jawbone, ring! Jawbone, sing!
+    Jawbone, kill dat wicked thing.
+
+
+INDIAN FLEA
+
+    Injun flea, bit my knee;
+    Kaze I wouldn' drink ginger tea.
+
+    Flea bite hard, flea bite quick;
+    Flea bite burn lak dat seed tick.
+
+    Hit dat flea, flea not dere.
+    I'se so mad I pulls my hair.
+
+    I go wild an' fall in de creek.
+    To wash 'im off, I'd stay a week.
+
+
+AS I WENT TO SHILOH
+
+    As I went down
+    To Shiloh Town;
+    I rolled my barrel of Sogrum down.
+    Dem lasses rolled;
+    An' de hoops, dey bust;
+    An' blowed dis Nigger clear to Thundergust!
+
+
+JUMP JIM CROW
+
+    Git fus upon y[=o]' heel,
+    An' den upon y[=o]' toe;
+    An ebry time you tu'n 'round,
+    You jump Jim Crow.
+
+    Now fall upon y[=o]' knees,
+    Jump up an' bow low;
+    An' ebry time you tu'n 'round,
+    You jump Jim Crow.
+
+    Put y[=o]' han's upon y[=o]' hips,
+    Bow low to y[=o]' beau;
+    An' ebry time you tu'n 'round,
+    You jump Jim Crow.
+
+
+
+
+DANCE RHYME SONG SECTION
+
+[music]
+
+
+JAYBIRD
+
+    De Jaybird jump from lim' to lim',
+    An' he tell Br'er Rabbit to do lak him.
+    Br'er Rabbit say to de cunnin' elf:
+    "You jes want me to fall an' kill myself."
+
+    Dat Jaybird a-settin' on a swingin' lim'.
+    He wink at me an' I wink at him.
+    He laugh at me w'en my gun "crack."
+    It kick me down on de flat o' my back.
+
+    Nex' day de Jaybird dance dat lim'.
+    I grabs my gun fer to shoot at him.
+    W'en I "crack" down, it split my chin.
+    "Ole Aggie Cunjer" fly lak sin.
+
+    Way down yon'er at de risin' sun,
+    Jaybird a-talkin' wid a forked tongue.
+    [8]He's been down dar whar de bad mens dwell.
+    "Ole Friday Devil," fare--you--well!
+
+[8] A superstition. For explanation, see Study in Negro Folk Rhymes.
+
+
+OFF FROM RICHMOND
+
+    I'se off from Richmon' sooner in de mornin'.
+    I'se off from Richmon' bef[=o]' de break o' day.
+    I slips off from Mosser widout pass an' warnin'
+    Fer I mus' see my Donie wharever she may stay.
+
+
+HE IS MY HORSE
+
+    One day as I wus a-ridin' by,
+    Said dey: "Ole man, y[=o]' hoss will die"--
+         "If he dies, he is my loss;
+         An' if he lives, he is my hoss."
+
+    Nex' day w'en I come a-ridin' by,
+    Dey said: "Ole man, y[=o]' hoss may die."--
+         "If he dies, I'll tan 'is skin;
+         An' if he lives, I'll ride 'im ag'in."
+
+    Den ag'in w'en I come a-ridin' by,
+    Said dey: "Ole man, y[=o]' hoss mought die."--
+         "If he dies, I'll eat his co'n;
+         An' if he lives, I'll ride 'im on."
+
+
+JUDGE BUZZARD[9]
+
+    Dere sets Jedge Buzzard on de Bench.
+    Go tu'n him off wid a monkey wrench!
+    Jedge Buzzard try Br'er Rabbit's case;
+    An' he say Br'er Tarepin win dat race.
+    Here sets Jedge Buzzard on de Bench.
+    Knock him off wid dat monkey wrench!
+
+[9] See Study in Negro Rhymes for explanation.
+
+
+SHEEP AND GOAT
+
+    Sheep an' goat gwine to de paster;
+    Says de goat to de sheep: "Cain't you walk a liddle faster?"
+
+    De sheep says: "I cain't, I'se a liddle too full."
+    Den de goat say: "You can wid my ho'ns in y[=o]' wool."
+
+    But de goat fall down an' skin 'is shin
+    An' de sheep split 'is lip wid a big broad grin.
+
+
+JACKSON, PUT THAT KETTLE ON!
+
+    Jackson, put dat kittle on!
+    Fire, steam dat coffee done!
+    Day done broke, an' I got to run
+    Fer to meet my gal by de risin' sun.
+
+    My ole Mosser say to me,
+    Dat I mus' drink [10]sassfac tea;
+    But Jackson stews dat coffee done,
+    An' he sh[=o]' gits his po'tion: Son!
+
+[10] Sassfac = sassafras.
+
+
+DINAH'S DINNER HORN
+
+    It's a c[=o]l', frosty mornin',
+    An' de Niggers goes to wo'k;
+    Wid deir axes on deir shoulders,
+    An' widout a bit o' [11]shu't.
+
+    Dey's got ole husky ashcake,
+    Widout a bit o' fat;
+    An' de white folks'll grumble,
+    If you eats much o' dat.
+
+    I runs down to de henhouse,
+    An' I falls upon my knees;
+    It's 'nough to make a rabbit laugh
+    To hear my tucky sneeze.
+
+    I grows up on dem meatskins,
+    I comes down on a bone;
+    I hits dat co'n bread fifty licks,
+    I makes dat butter moan.
+
+    It's glory in y[=o]' honor!
+    An' don't you want to go?
+    I sholy will be ready
+    Fer dat dinnah ho'n to blow.
+
+    Dat ole bell, it goes "Bangity--bang!"
+    Fer all dem white folks bo'n.
+    But I'se not ready fer to go
+    Till Dinah blows her ho'n.
+
+    "Poke--sallid!" "Poke--sallid!"
+    Dat ole ho'n up an' blow.
+    Jes think about dem good ole greens!
+    Say? Don't you want to go?
+
+[11] Shu't = shirt.
+
+
+MY MULE
+
+    Las' Saddy mornin' Mosser said:
+    "Jump up now, Sambo, out'n bed.
+    Go saddle dat mule, an' go to town;
+    An' bring home Mistiss' mornin' gown."
+
+    I saddled dat mule to go to town.
+    I mounted up an' he buck'd me down.
+    Den I jumped up from out'n de dust,
+    An' I rid him till I thought he'd bust.
+
+
+BULLFROG PUT ON THE SOLDIER CLOTHES
+
+    Bullfrog put on de soldier clo's.
+    He went down yonder fer to shoot at de crows;
+    Wid a knife an' a fo'k between 'is toes,
+    An' a white hankcher fer to wipe 'is nose.
+
+    Bullfrog put on de soldier clo's.
+    He's a "dead shore shot," gwineter kill dem crows.
+    He takes "Pot," an' "Skillet" from de Fiddler's Ball.
+    Dey're to dance a liddle jig while Jim Crow fall.
+
+    Bullfrog put on de soldier clo's.
+    He went down de river fer to shoot at de crows.
+    De powder flash, an' de crows fly 'way;
+    An' de Bullfrog shoot at 'em all nex' day.
+
+
+SAIL AWAY, LADIES!
+
+    Sail away, ladies! Sail away!
+    Sail away, ladies! Sail away!
+    Nev' min' what dem white folks say,
+    May de Mighty bless you. Sail away!
+
+    Nev' min' what y[=o]' daddy say,
+    Shake y[=o]' liddle foot an' fly away.
+    Nev' min' if y[=o]' mammy say:
+    "De Devil'll git you." Sail away!
+
+
+THE BANJO PICKING
+
+    Hush boys! Hush boys! Don't make a noise,
+    While ole Mosser's sleepin'.
+    We'll run down de Graveyard, an' take out de bones,
+    An' have a liddle Banjer pickin'.
+
+    I takes my Banjer on a Sunday mornin'.
+    Dem ladies, dey 'vites me to come.
+    We slips down de hill an' picks de liddle chune:
+    "Walk, Tom Wilson Here Afternoon."
+
+    [12]"Walk Tom Wilson Here Afternoon";
+    "You Cain't Dance Lak ole Zipp Coon."
+    Pick [12]"Dinah's Dinner Ho'n" "Dance 'Round de Room."
+    "Sweep dat Kittle Wid a Bran' New Broom."
+
+[12] Those marked [12] are found elsewhere in this volume. We were
+unable to obtain the other three.
+
+
+OLD MOLLY HARE
+
+    Ole Molly har'!
+    What's you doin' thar?
+    "I'se settin' in de fence corner, smokin' seegyar."
+
+    Ole Molly har'!
+    What's you doin' thar?
+    "I'se pickin' out a br'or, settin' on a Pricky-p'ar."
+
+    Ole Molly har'!
+    What's you doin' thar?
+    "I'se gwine cross de Cotton Patch, hard as I can t'ar."
+
+    Molly har' to-day,
+    So dey all say,
+    Got her pipe o' clay, jes to smoke de time 'way.
+
+    "De dogs say 'boo!'
+    An' dey barks too,
+    I hain't got no time fer to talk to you."
+
+
+ONE NEGRO TUNE USED WITH "AN OPOSSUM HUNT"
+
+[music]
+
+
+AN OPOSSUM HUNT
+
+    'Possum meat is good an' sweet,
+    I always finds it good to eat.
+    My dog tree, I went to see.
+    A great big 'possum up dat tree.
+    I retch up an' pull him in,
+    Den dat ole 'possum 'gin to grin.
+
+    I tuck him home an' dressed him off,
+    Dat night I laid him in de fros'.
+    De way I cooked dat 'possum sound,
+    I fust parboiled, den baked him brown.
+    I put sweet taters in de pan,
+    'Twus de bigges' eatin' in de lan'.
+
+
+DEVILISH PIGS
+
+    I wish I had a load o' poles,
+    To fence my new-groun' lot;
+    To keep dem liddle bitsy debblish pigs
+    Frum a-rootin' up all I'se got.
+
+    Dey roots my cabbage, roots my co'n;
+    Dey roots up all my beans.
+    Dey speilt my fine sweet-tater patch,
+    An' dey ruint my tunnup greens.
+
+    I'se rund dem pigs, an' I'se rund dem pigs.
+    I'se gittin' mighty hot;
+    An' one dese days w'en nobody look,
+    Dey'll root 'round in my pot.
+
+
+PROMISES OF FREEDOM
+
+    My ole Mistiss promise me,
+    W'en she died, she'd set me free.
+    She lived so long dat 'er head got bal',
+    An' she give out'n de notion a dyin' at all.
+
+    My ole Mistiss say to me:
+    "Sambo, I'se gwine ter set you free."
+    But w'en dat head git slick an' bal',
+    De Lawd couldn' a' killed 'er wid a big green maul.
+
+    My ole Mistiss never die,
+    Wid 'er nose all hooked an' skin all dry.
+    But my ole Miss, she's somehow gone,
+    An' she lef' "Uncle Sambo" a-hillin' up co'n.
+
+    Ole Mosser lakwise promise me,
+    W'en he died, he'd set me free.
+    But ole Mosser go an' make his Will
+    Fer to leave me a-plowin' ole Beck still.
+
+    Yes, my ole Mosser promise me;
+    But "his papers" didn' leave me free.
+    A dose of pizen he'ped 'im along.
+    May de Devil preach 'is f[=u]ner'l song.
+
+
+WHEN MY WIFE DIES
+
+    W'en my wife dies, gwineter git me anudder one;
+    A big fat yaller one, jes lak de yudder one.
+    I'll hate mighty bad, w'en she's been gone.
+    Hain't no better 'oman never nowhars been bo'n.
+
+    W'en I comes to die, you mus'n' bury me deep,
+    But put Sogrum molasses close by my feet.
+    Put a pone o' co'n bread way down in my han'.
+    Gwineter sop on de way to de Promus' Lan'.
+
+    W'en I goes to die, Nobody mus'n' cry,
+    Mus'n' dress up in black, fer I mought come back.
+    But w'en I'se been dead, an' almos' fergotten;
+    You mought think about me an' keep on a-trottin'.
+
+    Railly, w'en I'se been dead, you needn' bury me at tall.
+    You mought pickle my bones down in alkihall;
+    Den fold my han's "so," right across my breas';
+    An' go an' tell de folks I'se done gone to "res'."
+
+
+ONE TUNE USED WITH "BAA! BAA! BLACK SHEEP!"
+
+[music]
+
+
+BAA! BAA! BLACK SHEEP
+
+    "Baa! Baa! Black Sheep,
+    Has you got wool?"
+    "Yes, good Mosser,
+    Free bags full.
+    One fer ole Mistis,
+    One fer Miss Dame,
+    An' one fer de good Nigger
+    Jes across de lane."
+    P[=o][=o]r liddle Black Sheep,
+    P[=o][=o]r liddle lammy;
+    P[=o][=o]r liddle Black Sheep's
+    Got no mammy.
+
+
+HE WILL GET MR. COON
+
+    Ole Mistah Coon, at de break o' day,
+    You needn' think youse gwineter git 'way.
+    Caze ole man Ned, he know how to run,
+    An' he's sh[=o]' gone fer to git 'is gun.
+
+    You needn' clam to dat highes' lim',
+    You cain't git out'n de retch o' him.
+    You can stay up dar till de sun done set.
+    I'll bet you a dollar dat he'll git you yet.
+
+    Ole Mistah Coon, you'd well's to give up.
+    You had well's to give up, I say.
+    Caze ole man Ned is straight atter you,
+    An' he'll git you sh[=o]' this day.
+
+
+BRING ON YOUR HOT CORN
+
+    Bring along y[=o]' hot co'n,
+    Bring along y[=o]' col' co'n;
+    But I say bring along,
+    Bring along y[=o]' [13]Jimmy-john.
+
+    Some loves de hot co'n,
+    Some loves de col' co'n;
+    But I loves, I loves,
+    I loves dat Jimmy-john.
+
+[13] Jimmy-john = a whiskey jug.
+
+
+THE LITTLE ROOSTER
+
+    I had a liddle rooster,
+    He crowed bef[=o]' day.
+    'Long come a big owl,
+    An' toted him away.
+
+    But de rooster fight hard,
+    An' de owl let him go.
+    Now all de pretty hens
+    Wants dat rooster fer deir beau.
+
+
+SUGAR IN COFFEE
+
+    Sheep's in de meader a-mowin' o' de hay.
+    De honey's in de bee-gum, so dey all say.
+    My head's up an' I'se boun' to go.
+    Who'll take sugar in de coffee-o?
+
+    I'se de prettiest liddle gal in de county-o.
+    My mammy an' daddy, dey bofe say so.
+    I looks in de glass, it don't say, "No";
+    So I'll take sugar in de coffee-o.
+
+
+THE TURTLE'S SONG[14]
+
+    Mud turkle settin' on de end of a log,
+    A-watchin' of a tadpole a-turnin' to a frog.
+    He sees Br'er B'ar a-pullin' lak a mule.
+    He sees Br'er Tearpin a-makin' him a fool.
+
+    Br'er B'ar pull de rope an' he puff an' he blow;
+    But he cain't git de Tearpin out'n de water from below.
+    Dat big clay root is a-holdin' dat rope,
+    Br'er Tearpin's got 'im fooled, an' dere hain't no hope.
+
+    Mud turkle settin' on de end o' dat log;
+    Sing fer de tadpole a-turnin' to a frog,
+    Sing to Br'er B'ar a-pullin' lak a mule,
+    Sing to Br'er Tearpin a-makin' 'im a fool:--
+
+    "Oh, Br'er Rabbit! Y[=o]' eyes mighty big!"
+    "Yes, Br'er Turkle! Dey're made fer to see."
+    "Oh, Br'er Tearpin! Y[=o]' house mighty cu'ous!"
+    "Yes, Br'er Turkle, but it jest suits me."
+
+    "Oh, Br'er B'ar! You pulls mighty stout."
+    "Yes, Br'er Turkle! Dat's right smart said!"
+    "Right, Br'er B'ar! Dat sounds bully good,
+    But you'd oughter git a liddle m[=o]' pull in de head."
+
+[14] For explanation see Study in Negro Folk Rhymes.
+
+
+RACCOON AND OPOSSUM FIGHT
+
+    De raccoon an' de 'possum
+    Under de hill a-fightin';
+    Rabbit almos' bust his sides
+    Laughin' at de bitin'.
+
+    De raccoon claw de 'possum
+    Along de ribs an' head;
+    'Possum tumble over an' grin,
+    Playin' lak he been dead.
+
+
+COTTON EYED JOE
+
+    Hol' my fiddle an' hol' my bow,
+    Whilst I knocks ole Cotton Eyed Joe.
+
+    I'd a been dead some seben years ago,
+    If I hadn' a danced dat Cotton Eyed Joe.
+
+    Oh, it makes dem ladies love me so,
+    W'en I comes 'roun' pickin' ole Cotton Eyed Joe!
+
+    Yes, I'd a been married some forty year ago,
+    If I hadn' stay'd 'roun' wid Cotton Eyed Joe.
+
+    I hain't seed ole Joe, since way las' Fall;
+    Dey say he's been sol' down to Guinea Gall.
+
+
+RABBIT SOUP
+
+    Rabbit soup! Rabbit sop!
+    Rabbit e't my tunnup top.
+
+    Rabbit hop, rabbit jump,
+    Rabbit hide behin' dat stump.
+
+    Rabbit stop, twelve o'clock,
+    Killed dat rabbit wid a rock.
+
+    Rabbit's mine. Rabbit's skin'.
+    Dress 'im off an' take 'im in.
+
+    Rabbit's on! Dance an' whoop!
+    Makin' a pot o' rabbit soup!
+
+
+OLD GRAY MINK
+
+    I once did think dat I would sink,
+    But you know I wus dat ole gray mink.
+
+    Dat ole gray mink jes couldn' die,
+    W'en he thought about good chicken pie.
+
+    He swum dat creek above de mill,
+    An' he's killing an' eatin' chicken still.
+
+
+RUN, NIGGER, RUN!
+
+    Run, Nigger, run! De [15]Patter-rollers'll ketch you.
+    Run, Nigger, run! It's almos' day.
+
+    Dat Nigger run'd, dat Nigger flew,
+    Dat Nigger tore his shu't in two.
+
+    All over dem woods and frou de paster,
+    Dem Patter-rollers shot; but de Nigger git faster,
+
+    Oh, dat Nigger whirl'd, dat Nigger wheel'd,
+    Dat Nigger tore up de whole co'n field.
+
+[15] Patrollers, or white guards; on duty at night during the days of
+slavery; whose duty it was to see that slaves without permission to go,
+stayed at home.
+
+
+SHAKE THE PERSIMMONS DOWN
+
+    De raccoon up in de 'simmon tree.
+    Dat 'possum on de groun'.
+    De 'possum say to de raccoon: "Suh!"
+    "Please shake dem 'simmons down."
+
+    De raccoon say to de 'possum: "Suh!"
+    (As he grin from down below),
+    "If you wants dese good 'simmons, man,
+    Jes clam up whar dey grow."
+
+
+THE COW NEEDS A TAIL IN FLY-TIME
+
+    Dat ole black sow, she can root in de mud,
+    She can tumble an' roll in de slime;
+    But dat big red cow, she git all mired up,
+    So dat cow need a tail in fly-time.
+
+    Dat ole gray hoss, wid 'is ole bob tail,
+    You mought buy all 'is ribs fer a dime;
+    But dat ole gray hoss can git a kiver on,
+    Whilst de cow need a tail in fly-time.
+
+    Dat Nigger Overseer, dat's a-ridin' on a mule,
+    Cain't make hisse'f white lak de lime;
+    Mosser mought take 'im down fer a notch or two,
+    Den de cow'd need a tail in fly-time.
+
+
+JAYBIRD DIED WITH THE WHOOPING COUGH
+
+    De Jaybird died wid de Whoopin' Cough,
+    De Sparrer died wid de colic;
+    'Long come de Red-bird, skippin' 'round,
+    Sayin': "Boys, git ready fer de Frolic!"
+
+    De Jaybird died wid de Whoopin' Cough,
+    De Bluebird died wid de Measles;
+    'Long come a Nigger wid a fiddle on his back,
+    'Vitin' Crows fer to dance wid de Weasels.
+
+    Dat Mockin'-bird, he romp an' sing;
+    Dat ole Gray Goose come prancin'.
+    Dat Thrasher stuff his mouf wid plums,
+    Den he caper on down to de dancin'.
+
+    Dey hopped it low, an' dey hopped it high;
+    Dey hopped it to, an' dey hopped it by;
+    Dey hopped it fer, an' dey hopped it nigh;
+    Dat fiddle an' bow jes make 'em fly.
+
+
+WANTED! CORNBREAD AND COON
+
+    I'se gwine now a-huntin' to ketch a big fat coon.
+    Gwineter bring him home, an' bake him, an' eat him wid a spoon.
+    Gwineter baste him up wid gravy, an' add some onions too.
+    I'se gwineter shet de Niggers out, an' stuff myse'f clean through.
+
+    I wants a piece o' hoecake; I wants a piece o' bread,
+    An' I wants a piece o' Johnnycake as big as my ole head.
+    I wants a piece o' ash cake: I wants dat big fat coon!
+    An' I sh[=o]' won't git hongry 'fore de middle o' nex' June.
+
+
+LITTLE RED HEN
+
+    My liddle red hen, wid a liddle white foot,
+    Done built her nes' in a huckleberry root.
+    She lay m[=o]' aigs dan a flock on a fahm.
+    Anudder liddle drink wouldn' do us no harm.
+
+    My liddle red hen hatch fifty red chicks
+    In dat liddle ole nes' of huckleberry sticks.
+    Wid one m[=o]' drink, ev'y chick'll make two!
+    Come, bring it on, Honey, an' let's git through.
+
+
+RATION DAY
+
+    Dat ration day come once a week,
+    Ole Mosser's rich as Gundy;
+    But he gives us 'lasses all de week,
+    An' buttermilk fer Sund'y.
+
+    Ole Mosser give me a pound o' meat.
+    I e't it all on Mond'y;
+    Den I e't 'is 'lasses all de week,
+    An' buttermilk fer Sund'y.
+
+    Ole Mosser give me a peck o' meal,
+    I fed and cotch my tucky;
+    But I e't dem 'lasses all de week,
+    An' buttermilk fer Sund'y.
+
+    Oh laugh an' sing an' don't git tired.
+    We's all gwine home, some Mond'y,
+    To de honey ponds an' fritter trees;
+    An' ev'ry day'll be Sund'y.
+
+
+MY FIDDLE
+
+    If my ole fiddle wus jes in chune,
+    She'd bring me a dollar ev'y Friday night in June.
+    W'en my ole fiddle is fixed up right,
+    She bring me a dollar in nearly ev'y night.
+    W'en my ole fiddle begin to sing,
+    She make de whole plantation ring.
+    She bring me in a dollar an' sometime m[=o]'.
+    Hurrah fer my ole fiddle an' bow!
+
+
+DIE IN THE PIG-PEN FIGHTING
+
+    Dat ole sow said to de barrer:
+    "I'll tell you w'at let's do:
+    Let's go an' git dat broad-axe
+    And die in de pig-pen too."
+
+    "Die in de pig-pen fightin'!
+    Yes, die, die in de wah!
+    Die in de pig-pen fightin',
+    Yes, die wid a bitin' jaw!"
+
+
+MASTER IS SIX FEET ONE WAY
+
+    Mosser is six foot one way, an' free foot tudder;
+    An' he weigh five hunderd pound.
+    Britches cut so big dat dey don't suit de tailor,
+    An' dey don't meet half way 'round.
+
+    Mosser's coat come back to a claw-hammer p'int.
+    (Speak sof' or his Bloodhound'll bite us.)
+    His long white stockin's mighty clean an' nice,
+    But a liddle m[=o]' holier dan righteous.
+
+
+FOX AND GEESE
+
+    Br'er Fox wa'k out one moonshiny night,
+    He say to hisse'f w'at he's a gwineter do.
+    He say, "I'se gwineter have a good piece o' meat,
+    Bef[=o]' I leaves dis townyoo.
+    Dis townyoo, dis townyoo!
+    Yes, bef[=o]' I leaves dis townyoo!"
+
+    Ole mammy Sopentater jump up out'n bed,
+    An' she poke her head outside o' de d[=o]'.
+    She say: "Ole man, my gander's gone.
+    I heared 'im w'en he holler 'quinny-quanio,'
+    'Quinny-quanio, quinny-quanio!'
+    Yes, I heared 'im w'en he holler 'quinny-quanio.'"
+
+
+GOOSEBERRY WINE
+
+      Now 'umble Uncle Steben,
+      I wonders whar youse gwine?
+      Don't never tu'n y[=o]' back, Suh,
+      On dat good ole gooseberry wine!
+
+      Oh walk chalk, Ginger Blue!
+      Git over double trouble.
+      You needn' min' de wedder
+      So's de win' don't blow you double.
+
+    _Now!_
+      Uncle Mack! Uncle Mack!
+      Did you ever see de lak?
+      Dat good ole sweet gooseberry wine
+      Call Uncle Steben back.
+
+
+I'D RATHER BE A NEGRO THAN A POOR WHITE MAN
+
+          My name's Ran, I wuks in de san';
+          But I'd druther be a Nigger dan a p[=o]' white man.
+
+          Gwineter hitch my oxes side by side,
+          An' take my gal fer a big fine ride.
+
+          Gwineter take my gal to de country st[=o]';
+          Gwineter dress her up in red calico.
+
+          You take Kate, an' I'll take Joe.
+          Den off we'll go to de pahty-o.
+
+          Gwineter take my gal to de Hullabaloo,
+          Whar dere hain't no [16]Crackers in a mile or two.
+
+    _Interlocution_:
+
+          (Fiddler) "Oh, Sal! Whar's de milk
+               strainer cloth?"
+
+          (Banjo Picker) "Bill's got it wropped
+              'round his ole sore leg."
+
+          (Fiddler) "Well, take it down to de
+              gum spring an' give it a cold water
+              rench; I 'spizes nastness anyway.
+              I'se got to have a clean
+              cloth fer de milk."
+
+          He don't lak whisky but he jest drinks a can.
+          Honey! I'd druther be a Nigger dan a p[=o]' white man.
+
+          I'd druther be a Nigger, an' plow ole Beck
+          Dan a white [16]Hill Billy wid his long red neck.
+
+[16] Names applied by Negroes to the poorer class of white people in the
+South.
+
+
+THE HUNTING CAMP
+
+    Sam got up one mornin'
+    A mighty big fros'.
+    Saw "A louse, in de huntin' camp
+    As big as any hoss!"
+
+    Sam run 'way down de mountain;
+    But w'en Mosser got dar,
+    He swore it twusn't nothin'
+    But a big black b'ar.
+
+
+THE ARK
+
+    Ole Nora had a lots o' hands
+    A clearin' new ground patches.
+    He said he's gwineter build a Ark,
+    An' put tar on de hatches.
+
+    He had a sassy Mo'gan hoss
+    An' gobs of big fat cattle;
+    An' he driv' em all aboard de Ark,
+    W'en he hear de thunder rattle.
+
+    An' den de river riz so fas'
+    Dat it bust de levee railin's.
+    De lion got his dander up,
+    An' he lak to a broke de palin's.
+
+    An' on dat Ark wus daddy Ham;
+    No udder Nigger on dat packet.
+    He soon got tired o' de Barber Shop,
+    Caze he couln' stan' de racket.
+
+    An' den jes to amuse hisse'f,
+    He steamed a board an' bent it, Son.
+    Dat way he got a banjer up,
+    Fer ole Ham's de fust to make one.
+
+    Dey danced dat Ark from [=e]en to [=e]en,
+    Ole Nora called de Figgers.
+    Ole Ham, he sot an' knocked de chunes,
+    De happiest of de Niggers.
+
+
+GRAY AND BLACK HORSES
+
+    I went down to de woods an' I couldn' go 'cross,
+    So I paid five dollars fer an ole gray hoss.
+    De hoss wouldn' pull, so I s[=o]l' 'im fer a bull.
+    De bull wouldn' holler, so I s[=o]l' 'im fer a dollar.
+    De dollar wouldn' pass, so I throwed it in de grass.
+    Den de grass wouldn' grow. Heigho! Heigho!
+
+    Through dat huckleberry woods I couldn' git far,
+    So I paid a good dollar fer an ole black mar'.
+    W'en I got down dar, de trees wouldn' bar;
+    So I had to gallop back on dat ole black mar'.
+    "Bookitie-bar!" Dat ole black mar'; "Bookitie-bar!" Dat ole black mar'.
+    Yes she trabble so hard dat she jolt off my ha'r.
+
+
+RATTLER
+
+    Go call ole Rattler from de bo'n.
+    Here Rattler! Here!
+    He'll drive de cows out'n de co'n,
+    Here Rattler! Here!
+
+    Rattler is my huntin' dog.
+    Here Rattler! Here!
+    He's good fer rabbit, good fer hog,
+    Here Rattler! Here!
+
+    He's good fer 'possum in de dew.
+    Here Rattler! Here!
+    Sometimes he gits a chicken, too.
+    Here Rattler! Here!
+
+
+BROTHER BEN AND SISTER SAL
+
+    Ole Br'er Ben's a mighty good ole man,
+    He don't steal chickens lak he useter.
+    He went down de chicken roos' las' Friday night,
+    An' tuck off a dominicker rooster.
+
+    Dere's ole Sis Sal, she climbs right well,
+    But she cain't 'gin to climb lak she useter.
+    So yonder she sets a shellin' out co'n
+    To Mammy's ole bob-tailed rooster.
+
+    Yes, ole Sis Sal's a mighty fine ole gal,
+    She's sh[=o]' extra good an' clever.
+    She's done tuck a notion all her own,
+    Dat she hain't gwineter marry never.
+
+    Ole Sis Sal's got a foot so big,
+    Dat she cain't wear no shoes an' gaiters.
+    So all she want is some red calico,
+    An' dem big yaller yam sweet taters.
+
+    Now looky, looky here! Now looky, looky there!
+    Jes looky!--Looky 'way over yonder!--
+    Don't you see dat ole gray goose
+    A-smilin' at de gander?
+
+
+SIMON SLICK'S MULE
+
+    Dere wus a liddle kickin' man,
+    His name wus Simon Slick.
+    He had a mule wid cherry eyes.
+    Oh, how dat mule could kick!
+
+    An', Suh, w'en you go up to him,
+    He shet one eye an' smile;
+    Den 'e telegram 'is foot to you,
+    An' sen' you half a mile!
+
+
+NOBODY LOOKING
+
+    Well: I look dis a way, an' I look dat a way,
+          An' I heared a mighty rumblin'.
+          W'en I come to find out, 'twus dad's black sow,
+          A-rootin' an' a-grumblin'.
+
+    Den:  I slipped away down to de big White House.
+          Miss Sallie, she done gone 'way.
+          I popped myse'f in de rockin' chear,
+          An' I rocked myse'f all day.
+
+    Now:  I looked dis a way, an' I looked dat a way,
+          An' I didn' see nobody in here.
+          I jes run'd my head in de coffee pot,
+          An' I drink'd up all o' de beer.
+
+
+HOECAKE
+
+    If you wants to bake a hoecake,
+    To bake it good an' done;
+    Jes' slap it on a Nigger's heel,
+    An' hol' it to de sun.
+
+    Dat snake, he bake a hoecake,
+    An' sot de toad to mind it;
+    Dat toad he up an' go to sleep,
+    An' a lizard slip an' find it!
+
+    My mammy baked a hoecake,
+    As big as Alabamer.
+    She throwed it 'g'inst a Nigger's head
+    An' it ring jes' lak a hammer.
+
+    De way you bakes a hoecake,
+    In de ole Virginy 'tire;
+    You wrops it 'round a Nigger's heel,
+    An' h[=o]l's it to de fire.
+
+
+I WENT DOWN THE ROAD
+
+               I went down de road,
+               I went in a whoop;
+               An' I met Aunt Dinah
+               Wid a chicken pot o' soup.
+    Sing: "I went away from dar; hook-a-doo-dle, hook-a-doo-dle."
+          "I went away from dar; hook-a-doo-dle-doo!"
+               I drunk up dat soup,
+               An' I let her go by;
+               An' I t[=o]l' her nex' time
+               To bring Missus' pot pie.
+    Sing: "Oh far'-you-well; hook-a-doo-dle, hook-a-doo-dle;
+          Oh far'-you-well, an' a hook-a-doo-dle-doo!"
+
+
+THE OLD HEN CACKLED
+
+    De ole hen she cackled,
+    An' stayed down in de bo'n.
+    She git fat an' sassy,
+    A-eatin' up de co'n.
+
+    De ole hen she cackled,
+    Git great long yaller laigs.
+    She swaller down de oats,
+    But I don't git no aigs.
+
+    De ole hen she cackled,
+    She cackled in de lot,
+    De nex' time she cackled,
+    She cackled in de pot.
+
+
+I LOVE SOMEBODY
+
+    I loves somebody, yes, I do;
+    An' I wants somebody to love me too.
+    Wid my chyart an' oxes stan'in' 'roun',
+    Her pretty liddle foot needn' tetch de groun'.
+
+    I loves somebody, yes, I do,
+    Dat randsome, handsome, Stickamastew.
+    Wid her reddingoat an' waterfall,
+    She's de pretty liddle gal dat beats 'em all.
+
+
+WE ARE "ALL THE GO"
+
+    Yes!   We's "All-de-go," boys; we's "All-de-go."
+           Me an' my Lulu gal's "All-de-go."
+            I jes' loves my sweet pretty liddle Lulu Ann,
+              But de way she gits my money I cain't hardly understan'.
+              W'en she up an' call me "Honey!" I fergits my name is Sam,
+              An' I hain't got one nickel lef' to git a me a dram.
+
+    Still: We's "All-de-go," boys; we's "All-de-go."
+           Me an' my Lulu gal's "All-de-go."
+            She's always gwine a-fishin', w'en she'd oughter not to go;
+              An' now she's all a troubled wid de frostes an' de snow.
+              I tells you jes one thing dat I'se done gone an' foun':
+              De Nigs cain't git no livin' 'round de C[=o]'t House steps
+                                                               an' town.
+
+
+AUNT DINAH DRUNK
+
+    Ole Aunt Dinah, she got drunk.
+    She fell in de fire, an' she kicked up a chunk.
+    Dem embers got in Aunt Dinah's shoe,
+    An' dat black Nigger sh[=o]' got up an' flew.
+
+    I likes Aunt Dinah mighty, mighty well,
+    But dere's jes' one thing I hates an' 'spize:
+    She drinks m[=o]' whisky dan de bigges' fool,
+    Den she up an' tell ten thousand lies.
+
+    Yes, I won't git drunk an' kick up a chunk.
+         I won't git drunk an' kick up a chunk.
+         I won't git drunk an' kick up a chunk,
+         'Way down on de ole Plank Road.
+         Oh shoo my Love! My turkle dove.
+         Oh shoo my Love! My turkle dove.
+         Oh shoo my Love! My turkle dove.
+         'Way down on de ole Plank Road.
+
+
+THE OLD WOMAN IN THE HILLS
+
+    Once: Dere wus an ole 'oman
+          Dat lived in de hills;
+          Put rocks in 'er stockin's,
+          An' sent 'em to mill.
+
+    Den:  De ole miller swore,
+          By de pint o' his knife;
+          Dat he never had ground up
+          No rocks in his life.
+
+    So:   De ole 'oman said
+          To dat miller nex' day:
+          "You railly must 'scuse me,
+          It's de onliest way."
+
+          "I heared you made meal,
+          A-grindin' on stones.
+          I mus' 'ave heared wrong,
+          It mus' 'ave been bones."
+
+
+A SICK WIFE
+
+    Las' Sadday night my wife tuck sick,
+    An' what d'you reckon ail her?
+    She e't a tucky gobbler's head
+    An' her stomach, it jes' fail her.
+
+    She squall out: "Sam, bring me some mint!
+    Make catnip up an' sage tea!"
+    I goes an' gits her all dem things,
+    But she throw 'em back right to me.
+
+    Says I: "Dear Honey! Mind nex' time!"
+            "Don't eat from 'A to Izzard'"
+            "I thinks you won' git sick at all,
+            If you saves p[=o]' me de gizzard."
+
+
+MY WONDERFUL TRAVEL
+
+          I come down from ole Virginny,
+          'Twas on a Summer day;
+          De wedder was all frez up,
+          'An' I skeeted all de way!
+
+    _Interlocution_:
+
+          Hand my banjer down to play,
+          Wanter pick fer dese ladies right away;
+
+          "W'en dey went to bed,
+          Dey couldn' shet deir eyes,"
+          An' "Dey was stan'in' on deir heads,
+          A-pickin' up de pies."
+
+
+I WOULD NOT MARRY A BLACK GIRL[17]
+
+    I wouldn' marry a black gal,
+    I'll tell you de reason why:
+    When she goes to comb dat head
+    De naps'll 'gin to fly.
+
+    I wouldn' marry a black gal,
+    I'll tell you why I won't:
+    When she'd oughter wash her face--
+    Well, I'll jes say she don't.
+
+    I woudn' marry a black gal,
+    An' dis is why I say:
+    When you has her face around,
+    It never gits good day.
+
+[17] For discussion see Study in Negro Folk Rhymes.
+
+
+HARVEST SONG
+
+    Las' year wus a good crap year,
+    An' we raised beans an' 'maters.
+    We didn' make much cotton an' co'n;
+    But, Goodness Life, de taters!
+
+    You can plow dat ole gray hoss,
+    I'se gwineter plow dat mulie;
+    An' w'en we's geddered in de craps,
+    I'se gwine down to see Julie.
+
+    I hain't gwineter wo'k on de railroad.
+    I hates to wo'k on de fahm.
+    I jes wants to set in de cool shade,
+    Wid my head on my Julie's ahm.
+
+    You swing Lou, an' I'll swing Sue.
+    Dere hain't no diffunce 'tween dese two.
+    You swing Lou, I'll swing my beau;
+    I'se gwineter buy my gal red calico.
+
+
+YEAR OF JUBILEE
+
+    Niggers, has you seed ole Mosser;
+    (Red mustache on his face.)
+    A-gwine 'roun' sometime dis mawnin',
+    'Spectin' to leave de place?
+
+    Nigger Hands all runnin' 'way,
+    Looks lak we mought git free!
+    It mus' be now de [18]Kingdom Come
+    In de Year o' Jubilee.
+
+    Oh, yon'er comes ole Mosser
+    Wid his red mustache all white!
+    It mus' be now de Kingdom Come
+    Sometime to-morrer night.
+
+    Yanks locked him in de smokehouse cellar,
+    De key's throwed in de well:
+    It sh[=o]' mus' be de Kingdom Come.
+    Go ring dat Nigger field-bell!
+
+[18] Kingdom Come = Freedom.
+
+
+SHEEP SHELL CORN
+
+    _Oh_: De Ram blow de ho'n an' de sheep shell co'n;
+    An' he sen' it to de mill by de buck-eyed Whippoorwill.
+    Ole Joe's dead an' gone but his [19]Hant blows de ho'n;
+    An' his hound howls still from de top o' dat hill.
+
+    _Yes_: De Fish-hawk said unto Mistah Crane;
+    "I wishes to de Lawd dat you'd sen' a liddle rain;
+    Fer de water's all muddy, an de creek's gone dry;
+    If it 'twasn't fer de tadpoles we'd all die."
+
+    _Oh_: When de sheep shell co'n wid de rattle of his ho'n
+    I wishes to de Lawd I'd never been bo'n;
+    Caze when de Hant blows de ho'n, de sperits all dance,
+    An' de hosses an' de cattle, dey whirls 'round an' prance.
+
+    _Oh_: Yonder comes Skillet an' dere goes Pot;
+    An' here comes Jawbone 'cross de lot.
+    Walk Jawbone! Beat de Skillet an' de Pan!
+    You cut dat Pigeon's Wing, Black Man!
+
+    _Now_: Take keer, gemmuns, an' let me through;
+    Caze I'se gwineter dance wid liddle Mollie Lou.
+    But I'se never seed de lak since I'se been bo'n,
+    When de sheep shell co'n wid de rattle of his ho'n!
+
+[19] Hant = spirit or ghost.
+
+
+PLASTER
+
+    Chilluns:
+          Mammy an' daddy had a hoss,
+          Dey want a liddle bigger.
+          Dey sticked a plaster on his back
+          An' drawed a liddle Nigger.
+
+    Den:
+          Mammy an' daddy had a dog,
+          His tail wus short an' chunky.
+          Dey slapped a plaster 'round dat tail,
+          An' drawed it lak de monkey.
+
+    Well:
+          Mammy an' daddy's dead an' gone.
+          Did you ever hear deir story?
+          Dey sticked some plasters on deir heels,
+          An' drawed 'em up to Glory!
+
+
+UNCLE NED
+
+    Jes lay down de shovel an' de hoe.
+    Jes hang up de fiddle an' de bow.
+    No more hard work fer ole man Ned,
+    Fer he's gone whar de good Niggers go.
+
+    He didn' have no years fer to hear,
+    Didn' have no eyes fer to see,
+    Didn' have no teeth fer to eat corn cake,
+    An' he had to let de beefsteak be.
+
+    Dey called 'im "Ole Uncle Ned,"
+    A long, long time ago.
+    Dere wusn't no wool on de top o' his head
+    In de place whar de wool oughter grow.
+
+    When ole man Ned wus dead,
+    Mosser's tears run down lak rain;
+    But ole Miss, she wus a liddle sorter glad,
+    Dat she wouldn' see de ole Nigger 'gain.
+
+
+THE MASTER'S "STOLEN" COAT
+
+    Ole Mosser bought a brand new coat,
+    He hung it on de wall.
+    Dat Nigger [20]stole dat coat away,
+    An' wore it to de Ball.
+
+    His head look lak a Coffee pot,
+    His nose look lak de spout,
+    His mouf look lak de fier place,
+    Wid de ashes all tuck out.
+
+    His face look lak a skillet lid,
+    His years lak two big kites.
+    His eyes look lak two big biled aigs,
+    Wid de yallers in de whites.
+
+    His body 'us lak a stuffed toad frog,
+    His foot look lak a board.
+    Oh-oh! He thinks he is so fine,
+    But he's greener dan a gourd.
+
+[20] Stole, here, means taken temporarily with intention to return.
+
+
+I WOULDN'T MARRY A YELLOW OR A WHITE NEGRO GIRL[21]
+
+    I sho' loves dat gal dat dey calls Sally [22]"Black,"
+    An' I sorter loves some of de res';
+    I first loves de gals fer lovin' me,
+    Den I loves myse'f de bes'.
+
+    I wouldn' marry dat yaller Nigger gal,
+    An' I'll tell you de reason why:
+    Her neck's drawed out so stringy an' long,
+    I'se afeared she 'ould never die.
+
+    I wouldn' marry dat White Nigger gal,
+    (Fer gracious sakes!) dis is why:
+    Her nose look lak a kittle spout;
+    An' her skin, it hain't never dry.
+
+[21] For discussion see Study in Negro Folk Rhymes.
+
+[22] "Black" here is not the real name. This name is applied because of
+the complexion of the girls to whom it was sung.
+
+
+DON'T ASK ME QUESTIONS
+
+    Don't ax me no questions,
+    An' I won't tell you no lies;
+    But bring me dem apples,
+    An' I'll make you some pies.
+
+    An' if you ax questions,
+    'Bout my havin' de flour;
+    I fergits to use 'lasses
+    An' de pie'll be all sour.
+
+    Dem apples jes wa'k here;
+    An' dem 'lasses, dey run.
+    Hain't no place lak my house
+    Found un'er de sun.
+
+THE OLD SECTION BOSS
+
+    I once knowed an ole Sexion Boss but he done been laid low.
+    I once knowed an ole Sexion Boss but he done been laid low.
+    He "Caame frum gude ole Ireland some fawhrty year ago."
+
+    W'en I ax 'im fer a job, he say: "Nayger, w'at can yer do?"
+    W'en I ax 'im fer a job, he say: "Nayger, w'at can yer do?"
+    "I can line de track; tote de jack, de pick an' shovel too."
+
+    Says he: "Nayger, de railroad's done, an' de chyars is on de track,"
+    Says he: "Nayger, de railroad's done, an' de chyars is on de track,"
+    "Transportation brung yer here, but y[=o]' money'll take yer back."
+
+    I went down to de Deepo, an' my ticket I sh[=o]' did draw.
+    I went down to de Deepo, an' my ticket I sh[=o]' did draw.
+    To take me over dat ole Iron Mountain to de State o' Arkansaw.
+
+    As I went sailin' down de road, I met my mudder-in-law.
+    I wus so tired an' hongry, man, dat I couldn' wuk my jaw.
+    Fer I hadn't had no decent grub since I lef' ole Arkansaw.
+
+    Her bread wus hard corndodgers; dat meat, I couldn' chaw.
+    Her bread wus hard corndodgers; dat meat, I couldn' chaw.
+    You see; dat's de way de Hoosiers feeds way out in Arkansaw.
+
+
+THE NEGRO AND THE POLICEMAN
+
+    "Oh Mistah Policeman, tu'n me loose;
+    Hain't got no money but a good excuse."
+    Oh hello, Sarah Jane!
+
+    Dat ole Policeman treat me mean,
+    He make me wa'k to Bowlin' Green.
+    Oh hello, Sarah Jane!
+
+    De way he treat me wus a shame.
+    He make me wear dat Ball an' Chain.
+    Oh hello, Sarah Jane!
+
+    I runs to de river, I can't git 'cross;
+    Dat Police grab me an' swim lak a hoss.
+    Oh hello, Sarah Jane!
+
+    I goes up town to git me a gun,
+    Dat ole Police sh[=o]' make me run.
+    Oh hello, Sarah Jane!
+
+    I goes crosstown sorter walkin' wid a hump
+    An' dat ole Police sh[=o]' make me jump.
+    Oh hello, Sarah Jane!
+
+    Sarah Jane, is dat y[=o]' name?
+    Us boys, we calls you Sarah Jane.
+    Well, hello, Sarah Jane!
+
+
+HAM BEATS ALL MEAT
+
+    Dem white folks set up in a Dinin' Room
+    An' dey charve dat mutton an' lam'.
+    De Nigger, he set 'hind de kitchen door,
+    An' he eat up de good sweet ham.
+
+    Dem white folks, dey set up an' look so fine,
+    An' dey eats dat ole cow meat;
+    But de Nigger grin an' he don't say much,
+    Still he know how to git what's sweet.
+
+    Deir ginger cakes taste right good sometimes,
+    An' deir Cobblers an' deir jam.
+    But fer every day an' Sunday too,
+    Jest gimme de good sweet ham.
+
+    Ham beats all meat,
+    Always good an' sweet.
+    Ham beats all meat,
+    I'se always ready to eat.
+    You can bake it, bile it, fry it, stew it,
+    An' still it's de good sweet ham.
+
+
+SUZE ANN
+
+    Yes: I loves dat gal wid a blue dress on,
+         Dat de white folks calls Suze Ann.
+         She's jes' dat gal what stole my heart,
+         'Way down in Alabam'.
+
+    But: She loves a Nigger about nineteen,
+         Wid his lips all painted red;
+         Wid a liddle fuz around his mouf;
+         An' no brains in his head.
+
+    Now: Looky, looky Eas'! Oh, looky, looky Wes'!
+         I'se been down to ole Lou'zan';
+         Still dat ar gal I loves de bes'
+         Is de gal what's named Suze Ann.
+         Oh, head 'er! Head 'er! Ketch 'er!
+         Jump up an' [23]"Jubal Jew."
+         Fer de Banger Picker's sayin':
+         He hain't got nothin' to do.
+
+[23] Jubal Jew is a kind of dance step.
+
+
+WALK TOM WILSON
+
+    Ole Tom Wilson, he had 'im a hoss;
+    His legs so long he couldn' git 'em 'cross.
+    He laid up dar lak a bag o' meal,
+    An' he spur him in de flank wid his toenail heel.
+
+    Ole Tom Wilson, he come an' he go,
+    Frum cabin to cabin in de county-o.
+    W'en he go to bed, his legs hang do'n,
+    An' his foots makes poles fer de chickens t' roost on.
+
+    Tom went down to de river, an' he couldn' go 'cross.
+    Tom tromp on a 'gater an' 'e think 'e wus a hoss.
+    Wid a mouf wide open, 'gater jump from de san',
+    An' dat Nigger look clean down to de Promus' Lan'.
+
+    Wa'k Tom Wilson, git out'n de way!
+    Wa'k Tom Wilson, don't wait all de day!
+    Wa'k Tom Wilson, here afternoon;
+    Sweep dat kitchen wid a bran' new broom.
+
+CHICKEN PIE
+
+    If you wants to make an ole Nigger feel good,
+    Let me tell you w'at to do:
+    Jes take off a chicken from dat chicken roost,
+    An' take 'im along wid you.
+    Take a liddle dough to roll 'im up in,
+    An' it'll make you wink y[=o]' eye;
+    Wen dat good smell gits up y[=o]' nose,
+    Frum dat home-made chicken pie.
+
+    Jes go round w'en de night's sorter dark,
+    An' dem chickens, dey can't see.
+    Be shore dat de bad dog's all tied up,
+    Den slip right close to de tree.
+    Now retch out y[=o]' han' an' pull 'im in,
+    Den run lak a William goat;
+    An' if he holler, squeeze 'is neck,
+    An' shove 'im un'er y[=o]' coat.
+
+    Bake dat Chicken pie!
+    It's mighty hard to wait
+    When you see dat Chicken pie,
+    Hot, smokin' on de plate.
+    Bake dat Chicken pie!
+    Yes, put in lots o' spice.
+    Oh, how I hopes to Goodness
+    Dat I gits de bigges' slice.
+
+
+I AM NOT GOING TO HOBO ANY MORE
+
+    My mammy done tol' me a long time ago
+    To always try fer to be a good boy;
+    To lay on my pallet an' to waller on de fl[=o]';
+    An' to never leave my daddy's house.
+    I hain't never gwineter hobo no m[=o]'. By George!
+    I hain't never gwineter hobo no m[=o]'.
+
+    Yes, bef[=o]' I'd live dat ar hobo life,
+    I'll tell you what I'd jes go an' do:
+    I'd court dat pretty gal an' take 'er fer my wife,
+    Den jes lay 'side dat ar hobo life.
+    I hain't never gwineter hobo no m[=o]'. By George!
+    I hain't never gwineter hobo no m[=o]'.
+
+
+FORTY-FOUR
+
+    If de people'll jes gimme
+    Des a liddle bit o' peace,
+    I'll tell 'em what happen
+    To de Chief o' Perlice.
+    He met a robber
+    Right at de d[=o]'!
+    An' de robber, he shot 'im
+    Wid a forty-f[=o]'!
+    He shot dat Perliceman.
+    He shot 'im sh[=o]'!
+    What did he shoot 'im wid?
+    A forty-f[=o]'.
+
+    Dey sent fer de Doctah
+    An' de Doctah he come.
+    He come in a hurry,
+    He come in a run.
+    He come wid his instriments
+    Right in his han',
+    To progue an' find
+    Dat forty-f[=o]', Man!
+    De Doctah he progued;
+    He progued 'im sh[=o]'!
+    But he jes couldn' find
+    Dat forty-f[=o]'.
+
+    Dey sent fer de Preachah,
+    An' de preachah he come.
+    He come in a walk,
+    An' he come in to talk.
+    He come wid 'is Bible,
+    Right in 'is han',
+    An' he read from dat chapter,
+    Forty-f[=o]', Man!
+    Dat Preachah, he read.
+    He read, I know.
+    What Chapter did he read frum?
+    'Twus Forty-f[=o]'!
+
+
+
+
+PLAY RHYME SECTION
+
+
+BLINDFOLD PLAY CHANT
+
+    Oh blin' man! Oh blin' man!
+    You cain't never see.
+    Just tu'n 'round three times
+    You cain't ketch me.
+
+    Oh tu'n Eas'! Oh tu'n Wes'!
+    Ketch us if you can.
+    Did you thought dat you'd cotch us,
+    Mistah blin' man?
+
+
+FOX AND GEESE PLAY
+
+    [24](Fox _Call_) "Fox in de mawnin'!"
+    (Goose _Sponse_) "Goose in de evenin'!"
+
+    (Fox _Call_) "How many geese you got?"
+    (Goose _Sponse_) "More 'an you're able to ketch!"
+
+[24] For explanation of "call," and "sponse," see Study in Negro Folk
+Rhymes.
+
+
+HAWK AND CHICKENS PLAY
+
+    [25](Chicken's _Call_) "Chickamee, chickamee, cranie-crow."
+          I went to de well to wash my toe.
+          W'en I come back, my chicken wus gone.
+          W'at time, ole Witch?
+    (Hawk _Sponse_) "One"
+
+    (Hawk _Call_) "I wants a chick."
+    (Chicken's _Sponse_) "Well, you cain't git mine."
+
+    (Hawk _Call_) "I shall have a chick!"
+    (Chicken's _Sponse_) "You shan't have a chick!"
+
+[25] For explanation of "call," and "sponse," see Study in Negro Folk
+Rhymes.
+
+
+CAUGHT BY THE WITCH PLAY
+
+    (Human _Call_) "Molly, Molly, Molly-bright!"
+    (Witch _Sponse_) "Three sc[=o]' an' ten!"
+
+    (Human _Call_) "Can we git dar 'fore candle-light?"
+    (Witch _Sponse_) "Yes, if y[=o]' legs is long an' light."
+
+    (Conscience's Warning _Call_) "You'd better watch out,
+    Or de witches'll git yer!"
+
+
+GOOSIE-GANDER PLAY RHYME[26]
+
+    "Goosie, goosie, goosie-gander!
+    What d'you say?"--"Say: 'Goose!'"--
+    "Ve'y well, go right along, Honey!
+    I tu'ns y[=o]' years a-loose."
+
+    "Goosie, goosie, goosie-gander!
+    What d'you say?"--"Say: 'Gander'"
+    "Ve'y well. Come in de ring, Honey!
+    I'll pull y[=o]' years way yander!"
+
+[26] For explanation read the Study in Negro Folk Rhymes.
+
+
+HAWK AND BUZZARD
+
+    Once: De Hawk an' de buzzard went to roost,
+        An' de hawk got up wid a broke off tooth.
+
+    Den: De hawk an' de buzzard went to law,
+        An' de hawk come back wid a broke up jaw.
+
+    But lastly: Dat buzzard tried to plead his case,
+        Den he went home wid a smashed in face.
+
+
+LIKES AND DISLIKES
+
+    I sho' loves Miss Donie! Oh, yes, I do!
+            She's neat in de waist,
+            Lak a needle in de case;
+            An' she suits my taste.
+
+    I'se gwineter run wid Mollie Roalin'! Oh, yes, I will!
+            She's pretty an' nice
+            Lak a bottle full o' spice,
+            But she's done drap me twice.
+
+    I don't lak Miss Jane! Oh no, I don't.
+            She's fat an' stout,
+            Got her mouf sticked out,
+            An' she laks to pout.
+
+
+SUSIE GIRL
+
+    Ring 'round, Miss Susie gal,
+    Ring 'round, "My Dovie."
+    Ring 'round, Miss Susie gal.
+    Bless you! "My Lovie."
+
+    Back 'way, Miss Susie gal.
+    Back 'way, "My Money."
+    Now come back, Miss Susie gal.
+    Dat's right! "My Honey."
+
+    Swing me, Miss Susie gal.
+    Swing me, "My Starlin'."
+    Jes swing me, my Susie gal.
+    Yes "Love!" "My Darlin'."
+
+
+SUSAN JANE
+
+    I know somebody's got my Lover;
+    Susan Jane! Susan Jane!
+    Oh, cain't you tell me; help me find 'er?
+    Susan Jane! Susan Jane!
+
+    If I lives to see nex' Fall;
+    Susan Jane! Susan Jane!
+    I hain't gwineter sow no wheat at all.
+    Susan Jane! Susan Jane!
+
+    'Way down yon'er in de middle o' de branch;
+    Susan Jane! Susan Jane!
+    De ole cow pat an' de buzzards dance.
+    Susan Jane! Susan Jane!
+
+
+PEEP SQUIRREL
+
+    Peep squir'l, ying-ding-did-lum;
+    Peep squir'l, it's almos' day,
+    Look squir'l, ying-ding-did-lum,
+    Look squir'l, an' run away.
+
+    Walk squir'l, ying-ding-did-lum;
+    Walk squir'l, fer dat's de way.
+    Skip squir'l, ying-ding-did-lum;
+    Skip squir'l, all dress in gray.
+
+    Run squir'l! Ying-ding-did-lum!
+    Run squir'l! Oh, run away!
+    I cotch you squir'l! Ying-ding-did-lum!
+    I cotch you squir'l! Now stay, I say.
+
+
+DID YOU FEED MY COW?
+
+    "Did yer feed my cow?" "Yes, Mam!"
+    "Will yer tell me how?" "Yes, Mam!"
+    "Oh, w'at did yer give 'er?" "Cawn an' hay."
+    "Oh, w'at did yer give 'er?" "Cawn an' hay."
+
+    "Did yer milk 'er good?" "Yes, Mam!"
+    "Did yer do lak yer should?" "Yes, Mam!"
+    "Oh, how did yer milk 'er?" "Swish! Swish! Swish!"
+    "Oh, how did yer milk 'er?" "Swish! Swish! Swish!"
+
+    "Did dat cow git sick?" "Yes, Mam!"
+    "Wus she kivered wid tick?" "Yes, Mam!"
+    "Oh, how wus she sick?" "All bloated up."
+    "Oh, how wus she sick?" "All bloated up."
+
+    "Did dat cow die?" "Yes, Mam!"
+    "Wid a pain in 'er eye?" "Yes, Mam!"
+    "Oh, how did she die?" "Uh-! Uh-! Uh-!"
+    "Oh, how did she die?" "Uh-! Uh-! Uh-!"
+
+    "Did de Buzzards come?" "Yes, Mam!"
+    "Fer to pick 'er bone?" "Yes, Mam!"
+    "Oh, how did they come?" "Flop! Flop! Flop!"
+    "Oh, how did they come?" "Flop! Flop! Flop!"
+
+
+A BUDGET
+
+    If I lives to see nex' Spring
+    I'se gwineter buy my wife a big gold ring.
+
+    If I lives to see nex' Fall,
+    I'se gwinter buy my wife a waterfall.
+
+    "When Christmas comes?" You cunnin' elf!
+    I'se gwineter spen' my money on myself.
+
+
+THE OLD BLACK GNATS
+
+    Dem ole black gnats, dey is so bad
+    I cain't git out'n here.
+    Dey stings, an' bites, an' runs me mad;
+    I cain't git out'n here.
+
+    Dem ole black gnats dey sings de song,
+    "You cain't git out'n here.
+    Ole Satan'll git you bef[=o]' long;
+    You cain't git out'n here."
+
+    Dey burns my years, gits in my eye;
+    An' I cain't git out'n here.
+    Dey makes me dance, dey makes me cry;
+    An' I cain't git out'n here.
+
+    I fans an' knocks but dey won't go 'way!
+    I cain't git out'n here.
+    Dey makes me wish 'twus Jedgment Day;
+    Fer I cain't git out'n here.
+
+
+SUGAR LOAF TEA
+
+    Bring through y[=o]' [27]Sugar-l[=o]'-tea, bring through y[=o]'
+                                                            [27]Candy,
+    All I want is to wheel, an' tu'n, an' bow to my Love so handy.
+
+    You tu'n here on Sugar-l[=o]'-tea, I'll tu'n there on Candy.
+    All I want is to wheel, an' tu'n, an' bow to my Love so handy.
+
+    Some gits drunk on Sugar-l[=o]'-tea, some gits drunk on Candy,
+    But all I wants is to wheel, an' tu'n, an' bow to my Love so handy.
+
+[27] Nicknames applied in imagination to the women engaged in playing in
+the Play Song.
+
+
+GREEN OAK TREE! ROCKY'O
+
+    Green oak tree! Rocky'o! Green oak tree! Rocky'o!
+    Call dat one you loves, who it may be,
+    To come an' set by de side o' me.
+    "Will you hug 'im once an' kiss 'im twice?"
+    "W'y! I wouldn' kiss 'im once fer to save 'is life!"
+    Green oak tree! Rocky'o! Green oak tree! Rocky'o!
+
+
+KISSING SONG
+
+    A sleish o' bread an' butter fried,
+    Is good enough fer y[=o]' sweet Bride.
+    Now choose y[=o]' Lover, w'ile we sing,
+    An' call 'er nex' onto de ring.
+
+    "Oh my Love, how I loves you!
+    Nothin' 's in dis worl' above you.
+    Dis right han', fersake it never.
+    Dis heart, you mus' keep forever.
+    One sweet kiss, I now takes from you;
+    Caze I'se gwine away to leave you."
+
+
+KNEEL ON THIS CARPET
+
+    Jes choose y[=o]' Eas'; jes choose y[=o]' Wes'.
+    Now choose de one you loves de bes'.
+    If she hain't here to take 'er part
+    Choose some one else wid all y[=o]' heart.
+
+    Down on dis chyarpet you mus' kneel,
+    Shore as de grass grows in de fiel'.
+    Salute y[=o]' Bride, an' kiss her sweet,
+    An' den rise up upon y[=o]' feet.
+
+
+SALT RISING BREAD
+
+    I loves saltin', saltin' bread.
+    I loves saltin', saltin' bread.
+    Put on dat skillet, nev' mind de lead;
+    Caze I'se gwineter cook dat saltin' bread;
+    Yes, ever since my mammy's been dead,
+    I'se been makin' an' cookin' dat saltin' bread.
+
+    I loves saltin', saltin' bread.
+    I loves saltin', saltin' bread.
+    You loves biscuit, butter, an' fat?
+    I can dance Shiloh better 'an dat.
+    Does you turn 'round an' shake y[=o]' head?--
+    Well; I loves saltin', saltin' bread.
+
+    I loves saltin', saltin' bread.
+    I loves saltin', saltin' bread.
+    W'en you ax y[=o]' mammy fer butter an' bread,
+    She don't give nothin' but a stick across y[=o]' head.
+    On cracklin's, you say, you wants to git fed?
+    Well, I loves saltin', saltin' bread.
+
+
+PRECIOUS THINGS
+
+    Hol' my rooster, h[=o]l' my hen,
+    Pray don't tetch my [28]Gooshen Ben'.
+
+    Hol' my bonnet, h[=o]l' my shawl,
+    Pray don't tetch my waterfall.
+
+    H[=o]l' my han's by de finger tips,
+    But pray don't tetch my sweet liddle lips.
+
+[28] Grecian Bend.
+
+
+HE LOVES SUGAR AND TEA
+
+    Mistah Buster, he loves sugar an' tea.
+    Mistah Buster, he loves candy.
+    Mistah Buster, he's a Jim-dandy!
+    He can swing dem gals so handy.
+
+    Charlie's up an' Charlie's down.
+    Charlie's fine an' dandy.
+    Ev'ry time he goes to town,
+    He gits dem gals stick candy.
+
+    Dat Niggah, he love sugar an' tea.
+    Dat Niggah love dat candy.
+    Fine Niggah! He can wheel 'em 'round,
+    An' swing dem ladies handy.
+
+    Mistah Sambo, he love sugar an' tea.
+    Mistah Sambo love his candy.
+    Mistah Sambo; he's dat han'some man
+    What goes wid sister Mandy.
+
+
+HERE COMES A YOUNG MAN COURTING
+
+    Here comes a young man a courtin'! Courtin'! Courtin'!
+    Here comes a young man a-courtin'! It's Tidlum Tidelum Day.
+    "Say! Won't you have one o' us? Us, Sir? Us, Sir?
+    Say! Won't you have one o' us, Sir?" dem brown skin ladies say.
+
+    "You is too black an' rusty! Rusty! Rusty!
+    You is too black an' rusty!" said Tidlum Tidelum Day.
+    "We hain't no blacker 'an you, Sir! You, Sir! You, Sir!
+    We hain't no blacker 'an you, Sir!" dem brown skin ladies say.
+
+    "Pray! Won't you have one o' us, Sir? Us, Sir? Us, Sir?
+    Pray! Won't you have one o' us, Sir?" say yaller gals all gay.
+    "You is too ragged an' dirty! Dirty! Dirty!
+    You is too ragged an' dirty!" said Tidlum Tidelum Day.
+
+    "You shore is got de bighead! Bighead! Bighead!
+    You shore is got de bighead! You needn' come dis way.
+    We's good enough fer you, Sir! You, Sir! You, Sir!
+    We's good enough fer you, Sir!" dem yaller gals all say.
+
+    "De fairest one dat I can see, dat I can see, dat I can see,
+    De fairest one dat I can see," said Tidlum Tidelum Day.
+    "My Lulu, come an' wa'k wid me, wa'k wid me, wa'k wid me.
+    My Lulu, come an' wa'k wid me. 'Miss Tidlum Tidelum Day.'"
+
+
+ANCHOR LINE
+
+    I'se gwine out on de Anchor Line, Dinah!
+    I won't git back 'fore de summer time, Dinah!
+    W'en I come back be "dead in line,"
+    I'se gwineter bring you a dollar an' a dime,
+    Shore as I gits in from de Anchor Line, Dinah!
+
+    If you loves me lak I loves you, Dinah!
+    No Coon can cut our love in two, Dinah!
+    If you'll jes come an' go wid me,
+    Come go wid me to Tennessee,
+    Come go wid me; I'll set you free,--Dinah!
+
+
+SALLIE
+
+    Sallie! Sallie! don't you want to marry?
+    Sallie! Sallie! do come an' tarry!
+    Sallie! Sallie! Mammy says to tell her when.
+    Sallie! Sallie! She's gwineter kill dat turkey hen!
+
+    Sallie! Sallie! When you goes to marry,
+    (Sallie! Sallie!) Marry a fahmin man(!)
+    (Sallie! Sallie!) Ev'ry day'll be Mond'y,
+    (Sallie! Sallie!) Wid a hoe-handle in y[=o]' han'!
+
+
+SONG TO THE RUNAWAY SLAVE[29]
+
+    Go 'way from dat window, "My Honey, My Love!"
+    Go 'way from dat window! I say.
+    De baby's in de bed, an' his mammy's lyin' by,
+    But you cain't git y[=o]' lodgin' here.
+
+    Go 'way from dat window, "My Honey, My Love!"
+    Go 'way from dat window! I say;
+    Fer ole Mosser's got 'is gun, an' to Miss'ip' youse been s[=o]l';
+    So you cain't git y[=o]' lodgin' here.
+
+    Go 'way from dat window, "My Honey, My Love!"
+    Go 'way from dat window! I say.
+    De baby keeps a-cryin'; but you'd better un'erstan'
+    Dat you cain't git y[=o]' lodgin' here.
+
+    Go 'way from dat window, "My Honey, My Love!"
+    Go 'way from dat window! I say;
+    Fer de Devil's in dat man, an' you'd better un'erstan'
+    Dat you cain't git y[=o]' lodgin' here.
+
+[29] The story went among Negroes that a runaway slave husband returned
+every night, and knocked on the window of his wife's cabin to get food.
+Other slaves having betrayed the secret that he was still in the
+vicinity, he was sold in the woods to a slave trader at reduced price.
+This trader was to come next day with bloodhounds to hunt him down. On
+the night after the sale, when the runaway slave husband knocked, the
+slave wife pinched their baby to make it cry. Then she sang the above
+song (as if singing to the baby), so that he might, if possible, effect
+his escape.
+
+
+DOWN IN THE LONESOME GARDEN
+
+    Hain't no use to weep, hain't no use to moan;
+    Down in a lonesome gyardin.
+    You cain't git no meat widout pickin' up a bone,
+    Down in a lonesome gyardin.
+
+    Look at dat gal! How she puts on airs,
+    Down in de lonesome gyardin!
+    But whar did she git dem closes she w'ars,
+    Down in de lonesome gyardin?
+
+    It hain't gwineter rain, an' it hain't gwineter snow;
+    Down in my lonesome gyardin.
+    You hain't gwinter eat in my kitchen doo',
+    Nor down in my lonesome gyardin.
+
+
+LITTLE SISTER, WON'T YOU MARRY ME?
+
+    Liddle sistah in de barn, jine de weddin'.
+    Youse de sweetest liddle couple dat I ever did see.
+    Oh Love! Love! Ahms all 'round me!
+    Say, liddle sistah, won't you marry me?
+
+    Oh step back, gal, an' don't you come a nigh me,
+    Wid all dem sassy words dat you say to me.
+    Oh Love! Love! Ahms all 'roun' me!
+    Oh liddle sistah, won't you marry me?
+
+
+RAISE A "RUCUS" TO-NIGHT
+
+    Two liddle Niggers all dressed in white,
+                                             (Raise a rucus to-night.)
+    Want to go to Heaben on de tail of a kite.
+                                            (Raise a rucus to-night.)
+    De kite string broke; dem Niggers fell;
+                                            (Raise a rucus to-night.)
+    Whar dem Niggers go, I hain't gwineter tell.
+                                             (Raise a rucus to-night.)
+
+    A Nigger an' a w'ite man a playin' seben up;
+                                             (Raise a rucus to-night.)
+    De Nigger beat de w'ite man, but '[=e]'s skeered to pick it up.
+                                             (Raise a rucus to-night.)
+    Dat Nigger grabbed de money, an' de w'ite man fell.
+                                             (Raise a rucus to-night.)
+    How de Nigger run, I'se not gwineter tell.
+                                             (Raise a rucus to-night.)
+
+    Look here, Nigger! Let me tell you a naked fac';
+                                             (Raise a rucus to-night.)
+    You mought a been cullud widout bein' dat black;
+                                             (Raise a rucus to-night.)
+    Dem 'ar feet look lak youse sh[=o]' walkin' back;
+                                             (Raise a rucus to-night.)
+    An' y[=o]' ha'r, it look lak a chyarpet tack.
+                                             (Raise a rucus to-night.)
+
+    Oh come 'long, chilluns, come 'long,
+    W'ile dat moon are shinin' bright.
+    Let's git on board, an' float down de river,
+    An' raise dat rucus to-night.
+
+
+SWEET PINKS AND ROSES
+
+    Sweet pinks an' roses, strawbeers on de vines,
+    Call in de one you loves, an' kiss 'er if you minds.
+    Here sets a pretty gal,
+    Here sets a pretty boy;
+    Cheeks painted rosy, an' deir eyes battin' black.
+    You kiss dat pretty gal, an' I'll stan' back.
+
+
+
+
+PASTIME RHYME SECTION
+
+
+SATAN
+
+    De Lawd made man, an' de man made money.
+    De Lawd made de bees, an' de bees made honey.
+    De Lawd made ole Satan, an' ole Satan he make sin.
+    Den de Lawd, He make a liddle hole to put ole Satan in.
+
+    Did you ever see de Devil, wid his iron handled shovel,
+    A scrapin' up de san' in his ole tin pan?
+    He cuts up mighty funny, he steals all y[=o]' money,
+    He blinds you wid his san'. He's tryin' to git you, man!
+
+
+JOHNNY BIGFOOT
+
+    Johnny, Johnny Bigfoot!
+    Want a pair o' shoes?
+    Go kick two cows out'n deir skins.
+    Run Brudder, tell de news!
+
+
+THE THRIFTY SLAVE
+
+    Jes wuk all day,
+    Den go huntin' in de wood.
+    Ef you cain't ketch nothin',
+    Den you hain't no good.
+    Don't look at Mosser's chickens,
+    Caze dey're roostin' high.
+    Big pig, liddle pig, root hog or die!
+
+
+WILD NEGRO BILL
+
+    I'se wild Nigger Bill
+    Frum Redpepper Hill.
+    I never did wo'k, an' I never will.
+
+    I'se done killed de Boss.
+    I'se knocked down de hoss.
+    I eats up raw goose widout apple sauce!
+
+    I'se Run-a-way Bill,
+    I knows dey mought kill;
+    But ole Mosser hain't cotch me, an' he never will!
+
+
+YOU LOVE YOUR GIRL
+
+    You loves y[=o]' gal?
+    Well, I loves mine.
+    Y[=o]' gal hain't common?
+    Well, my gal's fine.
+
+    I loves my gal,
+    She hain't no goose--
+    Blacker 'an blackberries,
+    Sweeter 'an juice.
+
+
+FRIGHTENED AWAY FROM A CHICKEN-ROOST
+
+    I went down to de hen house on my knees,
+    An' I thought I heared dat chicken sneeze.
+    You'd oughter seed dis Nigger a-gittin' 'way frum dere,
+    But 'twusn't nothin' but a rooster sayin' his prayer.
+    How I wish dat rooster's prayer would en',
+    Den perhaps I mought eat dat ole gray hen.
+
+
+BEDBUG
+
+    De June-bug's got de golden wing,
+    De Lightning-bug de flame;
+    De Bedbug's got no wing at all,
+    But he gits dar jes de same.
+
+    De Punkin-bug's got a punkin smell,
+    De Squash-bug smells de wust;
+    But de puffume of dat ole Bedbug,
+    It's enough to make you bust.
+
+    Wen dat Bedbug come down to my house,
+    I wants my walkin' cane.
+    Go git a pot an' scald 'im hot!
+    Good-by, Miss Lize Jane!
+
+
+HOW TO GET TO GLORY LAND
+
+    If you wants to git to Glory Land,
+    I'll tell you what to do:
+    Jes grease y[=o]' heels wid mutton sue,
+    W'en de Devil's atter you.
+    Jes grease y[=o]' heel an' grease y[=o]' han',
+    An' slip 'way--over into Glory Lan'.
+
+
+DESTITUTE FORMER SLAVE OWNERS
+
+    Missus an' Mosser a-walkin' de street,
+    Deir han's in deir pockets an' nothin' to eat.
+    She'd better be home a-washin' up de dishes,
+    An' a-cleanin' up de ole man's raggitty britches.
+    He'd better run 'long an' git out de hoes
+    An' clear out his own crooked weedy corn rows;
+    De Kingdom is come, de Niggers is free.
+    Hain't no Nigger slaves in de Year Jubilee.
+
+
+FATTENING FROGS FOR SNAKES
+
+    You needn' sen' my gal hoss apples
+    You needn' sen' her 'lasses candy;
+    She would keer fer de lak o' you,
+    Ef you'd sen' her apple brandy.
+
+    W'y don't you git some common sense?
+    Jes git a liddle! Oh fer land sakes!
+    Quit y[=o]' foolin', she hain't studyin' you!
+    Youse jes fattenin' frogs fer snakes!
+
+
+THE MULE'S KICK
+
+    Is dis me, or not me,
+    Or is de Devil got me?
+    Wus dat a muskit shot me?
+    Is I laid here more'n a week?--
+    Dat ole mule do kick amazin',
+    An' I 'spec's he's now a-grazin'
+    On de t'other side de creek.
+
+
+CHRISTMAS TURKEY
+
+    I prayed to de Lawd fer tucky-o.
+    Dat tucky wouldn' come.
+    I prayed, an' I prayed 'til I'se almos' daid.
+    No tucky at my home.
+
+    Chrismus Day, she almos' here;
+    My wife, she mighty mad.
+    She want dat tucky mo' an' mo'.
+    An' she want 'im mighty bad.
+
+    I prayed 'til de scales come on my knees,
+    An' still no tucky come.
+    I tuck myse'f to my tucky roos',
+    An' I brung my tucky home.
+
+
+A FULL POCKETBOOK
+
+    De goose at de barn, he feel mighty funny,
+    Caze de duck find a pocketbook chug full o' money.
+    De goose say: "Whar is you gwine, my Sonny?"
+    An' de duck, he say: "Now good-by, Honey."
+
+    De duck chaw terbacker an' de goose drink wine,
+    Wid a stuffed pocketbook dey sh[=o]' had a good time;
+    De grasshopper played de fiddle on a punkin vine
+    'Till dey all fall over on a sorter dead line.
+
+
+NO ROOM TO POKE FUN
+
+    Nev' m[=i]n' if my nose are flat,
+    An' my face are black an' sooty;
+    De Jaybird hain't so big in song,
+    An' de Bullfrog hain't no beauty.
+
+
+CROOKED NOSE JANE
+
+    I courted a gal down de lane.
+    Her name, it wus Crooked Nose Jane.
+    Her face wus white speckled, her lips wus all red,
+    An' she look jes as lean as a weasel half-fed.
+
+
+BAD FEATURES
+
+    Blue gums an' black eyes;
+    Run 'round an' tell lies.
+    Liddle head, liddle wit;
+    Big long head, not a bit.
+
+    Wid his long crooked toes,
+    An' his heel right roun';
+    Dat flat-footed Nigger
+    Make a hole in de groun'.
+
+
+MISS SLIPPY SLOPPY
+
+    Ole Miss Slippy Sloppy jump up out'n bed,
+    Den out'n de winder she poke 'er nappy head,
+    "Jack! O Jack! De gray goose's dead.
+    Dat fox done gone an' bit off 'er head!"
+
+    Jack run up de hill an' he call Mosser's hounds;
+    An' w'en dat fox hear dem turble sounds,
+    He sw'ar by his head an' his hide all 'round,
+    Dat he don't want no dinner, but a hole in de ground.
+
+
+HOW TO MAKE IT RAIN
+
+    Go kill dat snake an' hang him high,
+    Den tu'n his belly to de sky.
+    De storm an' rain'll come bye an' bye.
+
+
+A WIND-BAG
+
+    A nigger come a-struttin' up to me las' night;
+    In his han' wus a walkin' cane,
+    He tipped his hat an' give a low bow;
+    "Howdy-doo! Miss Lize Jane!"
+
+    But I didn' ax him how he done,
+    Which make a hint good pinned,
+    Dat I'd druther have a paper bag,
+    When it's sumpin' to be filled up wid wind.
+
+
+GOING TO BE GOOD SLAVES
+
+    Ole Mosser an' Missus has gone down to town,
+    Dey said dey'd git us somethin' an' dat hain't no jokes.
+    I'se gwineter be good all de whilst dey're all 'way,
+    An' I'se gwineter wear stockin's jes lak de white folks.
+
+
+PAGE'S GEESE[30]
+
+    Ole man Page'll be in a turble rage,
+    W'en he find out, it'll raise his dander.
+    Yankee soldiers bought his geese, fer one cent a-piece,
+    An' sent de pay home by de gander.
+
+[30] The Northern soldiers during the Civil War took all of a Southern
+planter's geese except one lone gander. They put one penny, for each
+goose taken, into a small bag and tied this bag around the gander's
+neck. They then sent him home to his owner with the pay of one penny for
+each goose taken. The Negroes of the community at once made up this
+little song.
+
+
+TO WIN A YELLOW GIRL
+
+    If you wants to win a yaller gal,
+    I tell you what you do;
+    You "borrow" Mosser's Beaver hat,
+    An' slip on his Long-tailed Blue.
+
+
+SEX LAUGH
+
+    You'se heared a many a gal laugh,
+    An' say: "He! He-he! He-he-he!"
+    But you hain't heared no boy laugh,
+    An' say: "She! She-she! She-she-she!"
+
+
+OUTRUNNING THE DEVIL
+
+    I went upon de mountain,
+    An' I seed de Devil comin'.
+    I retched an' got my hat an' coat,
+    An' I beat de Devil runnin'.
+
+    As I run'd down across de fiel',
+    A rattlesnake bit me on de heel.
+    I rears an' pitches an' does my bes',
+    An' I falls right back in a hornet's nes'.
+
+    For w'en I wus a sinnah man,
+    I rund by leaps an' boun's.
+    I wus afeard de Devil 'ould ketch me
+    Wid his ole three legged houn's.
+
+    But now I'se come a Christun,
+    I kneels right down an' prays,
+    An' den de Devil runs from me--
+    I'se tried dem other ways.
+
+
+HOW TO KEEP OR KILL THE DEVIL
+
+    If you wants to see de Devil smile,
+    Simpully do lak his own chile.
+
+    If you wants to see de Devil git spunk,
+    Swallow whisky, an' git drunk.
+
+    If you wants to see de Devil live,
+    Cuss an' swar an' never give.
+
+    If you wants to see de Devil run,
+    Jes tu'n a loose de Gospel gun.
+
+    If you wants to see de Devil fall,
+    Hit him wid de Gospel ball.
+
+    If you wants to see de Devil beg,
+    Nail him wid a Gospel peg.
+
+    If you wants to see de Devil sick,
+    Beat him wid a Gospel stick.
+
+    If you wants to see de Devil die,
+    Feed him up on Gospel pie.
+
+    But de Devil w'ars dat iron shoe,
+    An' if you don't watch, he'll slip it on you.
+
+
+JOHN HENRY
+
+    John Henry, he wus a steel-drivin' man.
+    He died wid his hammer in his han'.
+    O come long boys, an' line up de track,
+    For John Henry, he hain't never comin' back.
+
+    John Henry said to his Cappun: "Boss,
+    A man hain't nothin' but a man,
+    An' 'fore I'll be beat in dis sexion gang,
+    I'll die wid a hammer in my han'."
+
+    John Henry, he had a liddle boy,
+    He helt 'im in de pam of his han';
+    An' de las' word he say to dat chile wus:
+    "I wants you to be my steel-drivin' man."
+
+    John Henry, he had a pretty liddle wife,
+    An' her name, it wus Polly Ann.
+    She walk down de track, widout lookin' back,
+    For to see her big fine steel-drivin' man.
+
+    John Henry had dat pretty liddle wife,
+    An' she went all dress up in red.
+    She walk ev'y day down de railroad track
+    To de place whar her steel-drivin' man fell dead.
+
+
+THE NASHVILLE LADIES[31]
+
+    Dem Nashville ladies dress up fine.
+    Got longpail hoopskirts hanging down beh[=i]n'!
+    Got deir bonnets to deir shoulders an' deir noses in de sky!
+    Big pig! Liddle pig! Root hog, or die!
+
+[31] The name of the place was used where the rhyme was repeated.
+
+
+THE RASCAL
+
+    I'se de bigges' rascal fer my age.
+    I now speaks from dis public stage.
+    I'se stole a cow; I'se stole a calf,
+    An' dat hain't more 'an jes 'bout half.
+
+    Yes, Mosser!--Lover of my soul!--
+    "How many chickens has I stole?"
+    Well; three las' night, an' two night befo';
+    An' I'se gwine 'fore long to git four m[=o]'.
+
+    But you see dat hones' Billy Ben,
+    He done e't more dan erry three men.
+    He e't a ham, den e't a side;
+    He would a e't m[=o]', but you know he died.
+
+
+COFFEE GROWS ON WHITE FOLKS' TREES
+
+    Coffee grows on w'ite folks' trees,
+    But de Nigger can git dat w'en he please.
+    De w'ite folks loves deir milk an' brandy,
+    But dat black gal's sweeter dan 'lasses candy.
+
+    Coffee grows on w'ite folks trees,
+    An' dere's a river dat runs wid milk an' brandy.
+    De rocks is broke an' filled wid gold,
+    So dat yaller gal loves dat high-hat dandy.
+
+
+AUNT JEMIMA
+
+    Ole Aunt Jemima grow so tall,
+    Dat she couldn' see de groun'.
+    She stumped her toe, an' down she fell
+    From de Blackwoods clean to town.
+
+    W'en Aunt Jemima git in town,
+    An' see dem "tony" ways,
+    She natchully faint an' back she fell
+    To de Backwoods whar she stays.
+
+
+THE MULE'S NATURE
+
+    If you sees a mule tied up to a tree,
+    You mought pull his tail an' think about me.
+    For if a Nigger don't know de natcher of a mule,
+    It makes no diffunce what 'comes of a fool.
+
+
+I'M A "ROUND-TOWN" GENTLEMAN
+
+    I hain't no wagon, hain't no dray,
+    Jes come to town wid a load o' hay.
+    I hain't no cornfield to go to bed
+    Wid a lot o' hay-seeds in my head.
+    I'se a "round-town" Gent an' I don't choose
+    To wuk in de mud, an' do widout shoes.
+
+
+THIS SUN IS HOT
+
+    Dis sun are hot,
+    Dis hoe are heavy,
+    Dis grass grow furder dan I can reach;
+    An' as I looks
+    At dis Cotton fiel',
+    I thinks I mus' 'a' been called to preach.
+
+
+UNCLE JERRY FANTS
+
+    Has you heared 'bout Uncle Jerry Fants?
+    He's got on some cu'ious shapes.
+    He's de one what w'ars dem white duck pants,
+    An' he sot down on a bunch o' grapes.
+
+
+KEPT BUSY
+
+    Jes as soon as de sun go down,
+    My True-love's on my min'.
+    An' jes as soon as de daylight breaks
+    De white folks is got me a gwine.
+
+    She's de sweetes' thing in town;
+    An' when I sees dat Nig,
+    She make my heart go "pitty-pat,"
+    An' my head go "whirly-gig."
+
+
+CROSSING A FOOT-LOG
+
+    Me an' my wife an' my bobtail dog
+    Start 'cross de creek on a hick'ry log.
+    We all fall in an' git good wet,
+    But I helt to my liddle brown jug, you bet!
+
+
+WATERMELON PREFERRED
+
+    Dat hambone an' chicken are sweet.
+    Dat 'possum meat are sholy fine.
+    But give me,--now don't you cheat!--
+    (Oh, I jes wish you would give me!)
+    Dat watermillion, smilin' on de vine.
+
+
+"THEY STEAL" GOSSIP
+
+    _You know:_
+          Some folks say dat a Nigger won't steal,
+          But Mosser cotch six in a watermillion fiel';
+          A-cuttin', an' a-pluggin' an' a-tearin' up de vines,
+          A-eatin' all de watermillions, an' a-stackin' up de rinds.
+
+    _Uh-huh! Yes, I heared dat:_
+          Ole Mosser stole a middlin' o' meat,
+          Ole Missus stole a ham;
+          Dey sent 'em bofe to de Wuk-house,
+          An' dey had to leave de land.
+
+
+FOX AND RABBIT DRINKING PROPOSITIONS
+
+    Fox on de low ground,
+    Rabbit on de hill.
+    Says he: "I'll take a drink,
+    An' leave you a gill."
+
+    De fox say: "Honey,
+    (You sweet liddle elf!)
+    Jes hand me down de whole cup;
+    I wants it fer myself."
+
+
+A TURKEY FUNERAL
+
+    Dis tucky once on earth did dwell;
+    An' "Gobble! Gobble! Gobble!"
+    But now he gives me bigges' joy,
+    An' rests from all his trouble.
+
+    Yes, now he's happy, so am I;
+    No hankerin' fer a feas':
+    Because I'se stuffed wid tucky meat,
+    An' he struts in tucky peace.
+
+
+OUR OLD MULE
+
+    We had an ole mule an' he wouldn' go "gee";
+    So I knocked 'im down wid a single-tree.
+    To daddy dis wus some mighty bad news,
+    So he made me jump up an' outrun de Jews.
+
+
+THE COLLEGE OX
+
+    Ole Ox! Ole Ox! How'd you come up here?
+    You'se sh[=o]' plowed de cotton fields for many a, many a year.
+    You'se been kicked an' cuffed about wid heaps an' heaps abuse.
+    Now! Now, you comes up here fer some sort o' College use.
+
+
+CARE IN BREAD-MAKING
+
+    W'en you sees dat gal o' mine,
+    Jes tell 'er fer me, if you please,
+    Nex' time she goes to make up bread
+    To roll up 'er dirty sleeves.
+
+
+WHY LOOK AT ME?
+
+    What's you lookin' at me fer?
+    I didn' come here to stay.
+    I wants dis bug put in y[=o]' years,
+    An' den I'se gwine away.
+
+    I'se got milk up in my bucket,
+    I'se got butter up in my bowl;
+    But I hain't got no Sweetheart
+    Fer to save my soul.
+
+
+A SHORT LETTER
+
+    She writ me a letter
+    As long as my eye.
+    An' she say in dat letter:
+    "My Honey!--Good-by!"
+
+
+DOES MONEY TALK?
+
+    Dem whitefolks say dat money talk.
+    If it talk lak dey tell,
+    Den ev'ry time it come to Sam,
+    It up an' say: "Farewell!"
+
+
+I'LL EAT WHEN I'M HUNGRY
+
+    I'll eat when I'se hongry,
+    An' I'll drink when I'se dry;
+    An' if de whitefolks don't kill me,
+    I'll live till I die.
+
+    In my liddle log cabin,
+    Ever since I'se been born;
+    Dere hain't been no nothin'
+    'Cept dat hard salt parch corn.
+
+    But I knows whar's a henhouse,
+    An' de tucky he charve;
+    An' if ole Mosser don't kill me,
+    I cain't never starve.
+
+
+HEAR-SAY
+
+    Hello! Br'er Jack. How do you do?
+    I'se been a-hearin' a heaps o' things 'bout you.
+    I'll jes declar! It beats de Dickuns!
+    Dey's been tryin' to say you's been a-stealin' chickens!
+
+
+NEGRO SOLDIER'S CIVIL WAR CHANT
+
+    Ole [32]Abe (God bless 'is ole soul!)
+    Got a plenty good victuals, an' a plenty good clo'es.
+    Got powder, an' shot, an' lead,
+    To bust in Adam's liddle Confed'
+    In dese hard times.
+
+    Oh, once dere wus union, an' den dere wus peace;
+    De slave, in de cornfield, bare up to his knees.
+    But de Rebel's in gray, an' Sesesh's in de way,
+    An' de slave'll be free
+    In dese hard times.
+
+[32] Abraham Lincoln.
+
+
+PARODY ON "NOW I LAY ME DOWN TO SLEEP"
+
+    Uh-huh: "Now I lays me down to sleep!"--
+    While dead oudles o' bedbugs 'round me creep,--
+    Well: If dey bites me bef[=o]' "I" wake,
+    I hopes "deir" ole jawbones'll break.
+
+
+I'LL GET YOU, RABBIT!
+
+    Rabbit! Rabbit! You'se got a mighty habit,
+    A-runnin' through de grass,
+    Eatin' up my cabbages;
+    But I'll git you shore at las'.
+
+    Rabbit! Rabbit! Ole rabbit in de bottoms,
+    A-playin' in de san',
+    By to-morrow mornin',
+    You'll be in my fryin' pan.
+
+
+THE ELEPHANT
+
+    My mammy gimme fifteen cents
+    Fer to see dat elephan' jump de fence.
+    He jump so high, I didn' see why,
+    If she gimme a dollar he mought not cry.
+
+    So I axed my mammy to gimme a dollar,
+    Fer to go an' hear de elephan' holler.
+    He holler so loud, he skeered de crowd.
+
+    Nex' he jump so high, he tetch de sky;
+    An' he won't git back 'fore de fo'th o' July.
+
+
+A FEW NEGROES BY STATES
+
+    Alabammer Nigger say he love mush.
+    Tennessee Nigger say: "Good Lawd, hush!"
+
+    Fifteen cents in de panel of de fence,
+    South Ca'lina Nigger hain't got no sense.
+
+    Dat Kentucky Nigger jes think he's fine,
+    'Cause he drink dat Gooseberry wine.
+
+    I'se done heared some twenty year ago
+    Dat de Missippi Nigger hafter sleep on de fl[=o]'.
+
+    Lousanner Nigger fall out'n de bed,
+    An' break his head on a pone o' co'n bread.
+
+
+HOW TO PLEASE A PREACHER
+
+    If you wants to see dat Preachah laugh,
+    Jes change up a dollar, an' give 'im a half.
+    If you wants to make dat Preachah sing,
+    Kill dat tucky an' give him a wing.
+    If you wants to see dat Preachah cry,
+    Kill dat chicken an' give him a thigh.
+
+
+LOOKING FOR A FIGHT
+
+    I went down town de yudder night,
+    A-raisin' san' an' a-wantin' a fight.
+    Had a forty dollar razzer, an' a gatlin' gun,
+    Fer to shoot dem Niggers down one by one.
+
+
+I'LL WEAR ME A COTTON DRESS
+
+    Oh, will you wear red? Oh, will you wear red?
+    Oh, will you wear red, Milly Biggers?
+    "I won't wear red,
+    It's too much lak Missus' head.
+    I'll wear me a cotton dress,
+    Dyed wid copperse an' oak-bark."
+
+    Oh, will you wear blue? Oh, will you wear blue?
+    Oh, will you wear blue, Milly Biggers?
+    "I won't wear blue,
+    It's too much lak Missus' shoe.
+    I'll wear me a cotton dress,
+    Dyed wid copperse an' oak-bark."
+
+    You sholy would wear gray? You sholy would wear gray?
+    You sholy would wear gray, Milly Biggers?
+    "I won't wear gray,
+    It's too much lak Missus' way.
+    I'll wear me a cotton dress,
+    Dyed wid copperse an' oak-bark."
+
+    Well, will you wear white? Well, will you wear white?
+    Well, will you wear white, Milly Biggers?
+    "I won't wear white,
+    I'd get dirty long 'fore night.
+    I'll wear me a cotton dress,
+    Dyed wid copperse an' oak-bark."
+
+    Now, will you wear black? Now, will you wear black?
+    Now, will you wear black, Milly Biggers?
+    "I mought wear black,
+    Case it's de color o' my back;
+    An' it looks lak my cotton dress,
+    Dyed wid [33]copperse an' oak-bark."
+
+[33] Copperse is copperas, or sulphate of iron.
+
+
+HALF WAY DOINGS
+
+    My dear Brudders an' Sisters,
+    As I comes here to-day,
+    I hain't gwineter take no scripture verse
+    Fer what I'se gwineter say.
+
+    My words I'se gwineter cut off short
+    An' I 'spects to use dis tex':
+    "Dis half way doin's hain't no 'count
+    Fer dis worl' nor de nex'."
+
+    Dis half way doin's, Brudderin,
+    Won't never do, I say.
+    Go to y[=o]' wuk, an' git it done,
+    An' den's de time to play.
+
+    Fer w'en a Nigger gits lazy,
+    An' stops to take short naps,
+    De weeds an' grass is shore to grow
+    An' smudder out his craps.
+
+    Dis worl' dat we's a livin' in
+    Is sumpen lak a cotton row:
+    Whar each an' ev'ry one o' us
+    Is got his row to hoe.
+
+    An' w'en de cotton's all laid by,
+    De rain, it spile de bowls,
+    If you don't keep busy pickin'
+    In de cotton fiel' of y[=o]' souls.
+
+    Keep on a-plowin', an' a-hoein';
+    Keep on scrapin' off de rows;
+    An' w'en de year is over
+    You can pay off all you owes.
+
+    But w'en you sees a lazy Nigger
+    Stop workin', shore's you're born,
+    You'se gwineter see him comin' out
+    At de liddle end of de horn.
+
+
+TWO TIMES ONE
+
+    Two times one is two.
+    Won't you jes keep still till I gits through?
+    Three times three is nine.
+    You 'tend to y[=o]' business, an' I'll 'tend to mine.
+
+
+HE PAID ME SEVEN (PARODY)
+
+    "Our Fadder, Which are in Heaben!"--
+    White man owe me leben and pay me seben.
+    "D'y Kingdom come! D'y Will be done!"--
+    An' if I hadn't tuck dat, I wouldn' git none.
+
+
+PARODY ON "REIGN, MASTER JESUS, REIGN!"
+
+    Oh rain! Oh rain! Oh rain, "good" Mosser!
+    Rain, Mosser, rain! Rain hard!
+    Rain flour an' lard an' a big hog head
+    Down in my back yard.
+
+    An' w'en you comes down to my cabin,
+    Come down by de corn fiel'.
+    If you cain't bring me a piece o' meat,
+    Den bring me a peck o' meal.
+
+    Oh rain! Oh rain! Oh rain, "good" Mosser!
+    Dat good rain gives m[=o]' rest.
+    "What d'you say? You Nigger, dar!"--
+    "Wet ground grows grass best."
+
+
+A REQUEST TO SELL
+
+    Gwineter ax my daddy to sell ole Rose,
+    So's I can git me some new cl[=o]'s.
+    Gwineter ax my daddy to sell ole Nat,
+    So's I can git a bran' new hat.
+    Gwineter ax my daddy to sell ole Bruise,
+    Den I can git some Brogran shoes.
+    Now, I'se gwineter fix myse'f "jes so,"
+    An' take myse'f down to Big Shiloh.
+    I'se gwine right down to Big Shiloh
+    To take dat t'other Nigger's beau.
+
+
+WE'LL STICK TO THE HOE
+
+    We'll stick to de hoe, till de sun go down.
+    We'll rise w'en de rooster crow,
+    An' go to de fiel' whar de sun shine hot,
+    To de fiel' whar de sugar cane grow.
+    Yes, Chilluns, we'll all go!
+    We'll go to de fiel' whar de sun shine hot.
+    To de fiel' whar de sugar cane grow.
+
+    Oh, sing 'long boys, fer de wuk hain't hard!
+    Oh scrape an' clean up de row.
+    Fer de grass musn' grow, while de sun shine hot,
+    In de fiel' whar de sugar cane grow.
+    No, Chilluns. No, No!
+    Dat grass musn' grow, while de sun shine hot,
+    In de fiel' whar de sugar cane grow.
+
+    Don't think 'bout de time, fer de time hain't long.
+    Y[=o]' life soon come an' go;
+    Den good-bye fiel' whar de sun shine hot,
+    To de fiel' whar de sugar cane grow.
+    Yes, Chilluns. We'll all go!
+    Good-by to de fiel' whar de sun shine hot,
+    To de fiel' whar de sugar cane grow.
+
+
+A FINE PLASTER
+
+    W'en it's sheep skin an' beeswax,
+    It sh[=o]'s a mighty fine plaster:
+    De m[=o]' you tries to pull it off,
+    De m[=o]' it sticks de faster.
+
+
+A DAY'S HAPPINESS
+
+    Fust: I went out to milk an' I didn' know how,
+          I milked dat goat instid o' dat cow;
+          While a Nigger a-settin' wid a gapin' jaw,
+          Kept winkin' his eye at a tucky in de straw.
+
+    Den:  I went out de gate an' I went down de road,
+          An' I met Miss 'Possum an' I met Mistah Toad;
+          An' ev'y time Miss 'Possum 'ould sing,
+          Mistah Toad 'ould cut dat Pigeon's Wing.
+
+    But:  I went in a whoop, as I went down de road;
+          I had a bawky team an' a heavy load.
+          I cracked my whip, an' ole Beck sprung,
+          An' she busted out my wagin tongue.
+
+    Well: Dat night dere 'us a-gittin' up, shores you're born.
+          De louse go to supper, an' de flea blow de horn.
+          Dat raccoon paced, an' dat 'possum trot;
+          Dat ole goose laid, an' de gander sot.
+
+
+MASTER KILLED A BIG BULL
+
+    Mosser killed a big bull,
+    Missus cooked a dish full,
+    Didn't give poor Nigger a mouf full.
+        Humph! Humph!
+
+    Mosser killed a fat lam'.
+    Missus brung a basket,
+    An' give poor Nigger de haslet.
+        Eh-eh! Eh-eh!
+
+    Mosser killed a fat hog
+    Missus biled de middlin's,
+    An' give poor Nigger de chitlin's.
+        Sh[=o]! Sh[=o]!
+
+
+YOU HAD BETTER MIND MASTER
+
+    'Way down yon'er in 'Possum Trot,
+    (In ole Miss'sip' whar de sun shines hot)
+    Dere hain't no chickens an' de Niggers eats c'on;
+    You hain't never see'd de lak since youse been bo'n,
+    You'd better m[=i]n' Mosser an' keep a stiff lip,
+    So's you won't git s[=o]l' down to ole Miss'sip'.
+
+
+
+
+LOVE RHYME SECTION
+
+
+PRETTY LITTLE PINK
+
+    My pretty liddle Pink,
+    I once did think,
+    Dat we-uns sh[=o]' would marry;
+    But I'se done give up,
+    Hain't got no hope,
+    I hain't got no time to tarry.
+    I'll drink coffee dat flows,
+    From oaks dat grows,
+    'Long de river dat flows wid brandy.
+
+
+A BITTER LOVERS' QUARREL--ONE SIDE
+
+    You nasty dog! You dirty hog!
+    You thinks somebody loves you.
+    I tells you dis to let you know
+    I thinks myse'f above you.
+
+
+ROSES RED
+
+    Rose's red, vi'lets blue.
+    Sugar is sweet but not lak you.
+    De vi'lets fade, de roses fall;
+    But you gits sweeter, all in all.
+
+    As shore as de grass grows 'round de stump,
+    You is my darlin' Sugar Lump.
+    W'en de sun don't shine de day is cold,
+    But my love fer you do not git old.
+
+    De ocean's deep, de sky is blue;
+    Sugar is sweet, an' so is you;
+    De ocean waves an' de sky gits pale,
+    But my love are true, an' it never fail.
+
+
+YOU HAVE MADE ME WEEP
+
+    You'se made me weep, you'se made me mourn,
+    You'se made me tears an' sorrow.
+    So far' you well, my pretty liddle gal,
+    I'se gwine away to-morrow.
+
+
+MOURNING SLAVE FIANCEES
+
+    Look down dat lonesome road! Look down!
+    De way are dark an' c[=o]l'.
+    Dey makes me weep, dey makes me mourn;
+    All 'cause my love are s[=o]l'.
+
+    O don't you see dat turkle dove,
+    What mourns from vine to vine?
+    She mourns lak I moans fer my love,
+    Lef' many a mile behin'.
+
+
+DO I LOVE YOU?
+
+    Does I love you wid all my heart?--
+    I loves you wid my liver;
+    An' if I had you in my mouf,
+    I'd spit you in de river.
+
+
+LOVERS' GOOD-NIGHT
+
+    Cotton fields white in de bright moonlight,
+    Now kiss y[=o]' gal' an' say "Good-night."
+    If she don't kiss you, jes go on 'way;
+    Hain't no need a-stayin' ontel nex' day.
+
+
+VINIE
+
+    I loves coffee, an' I loves tea.
+    I axes you, Vinie, does you love me?
+
+    My day's study's Vinie, an' my midnight dreams,
+    My apples, my peaches, my tunnups, an' greens.
+
+    Oh, I wants dat good 'possum, an' I wants to be free;
+    But I don't need no sugar, if Vinie love me.
+
+    De river is wide, an' I cain't well step it.
+    I loves you, dear Vinie; an' you know I cain't he'p it.
+
+    Dat sugar is sweet, an' dat butter is greasy;
+    But I loves you, sweet Vinie; don't be oneasy.
+
+    Some loves ten, an' some loves twenty,
+    But I loves you, Vinie, an' dat is a plenty.
+
+    Oh silver, it shine, an' lakwise do tin.
+    De way I loves Vinie, it mus' be a sin.
+
+    Well, de cedar is green, an' so is de pine.
+    God bless you, Vinie! I wish you 'us mine.
+
+
+
+
+LOVE SONG RHYME SECTION
+
+
+SHE HUGGED ME AND KISSED ME
+
+    I see'd her in de Springtime,
+    I see'd her in de Fall,
+    I see'd her in de Cotton patch,
+    A cameing from de Ball.
+
+    She hug me, an' she kiss me,
+    She wrung my han' an' cried.
+    She said I wus de sweetes' thing
+    Dat ever lived or died.
+
+    She hug me an' she kiss me.
+    Oh Heaben! De touch o' her han'!
+    She said I wus de puttiest thing
+    In de shape o' mortal man.
+
+    I told her dat I love her,
+    Dat my love wus bed-cord strong;
+    Den I axed her w'en she'd have me,
+    An' she jes say "Go long!"
+
+
+IT IS HARD TO LOVE
+
+    It's hard to love, yes, indeed 'tis.
+    It's hard to be broke up in min'.
+    You'se all lugged up in some gal's heart,
+    But you hain't gwineter lug up in mine.
+
+
+ME AND MY LOVER
+
+    Me an' my Lover, we fall out.
+    How d'you reckon de fuss begun?
+    She laked licker, an' I laked fun,
+    An' dat wus de way de fuss begun.
+
+    Me an' my Lover, we fall out.
+    W'at d'you reckon de fuss wus 'bout?
+    She loved bitters, an' I loved kraut,
+    An' dat wus w'at de fuss wus 'bout.
+
+    Me an' my Lover git clean 'part.
+    How d'you reckon dat big fuss start?
+    She's got a gizzard, an' I'se got a heart,
+    An' dat's de way dat big fuss start.
+
+
+I WISH I WAS AN APPLE
+
+    Oh:   I wish I wus an apple,
+          An' my Sallie wus anudder.
+          What a pretty match we'd be,
+          Hangin' on a tree togedder!
+
+    But:  If I wus an apple,
+          An' my Sallie wus anudder;
+          We'd grow up high, close to de sky,
+          Whar de Niggers couldn' git 'er.
+
+          We'd grow up close to de sun
+          An' smile up dar above;
+          Den we'd fall down 'way in de groun'
+          To sleep an' dream 'bout love.
+
+    And:  W'en we git through a dreamin',
+          We'd bofe in Heaben wake.
+          No Nigger shouldn' git my gal
+          W'en 'is time come to bake.
+
+
+REJECTED BY ELIZA JANE
+
+    W'en I went 'cross de cotton patch
+    I give my ho'n a blow.
+    I thought I heared pretty Lizie say:
+    "Oh, yon'er come my beau!"
+
+    So: I axed pretty Lizie to marry me,
+        An' what d'you reckon she said?
+        She said she wouldn' marry me,
+        If ev'ybody else wus dead.
+
+    An': As I went up de new cut road,
+         An' she go down de lane;
+         Den I thought I heared somebody say:
+         "Good-bye, ole Lize Jane!"
+
+    Well: Jes git 'long, Lizie, my true love.
+          Git 'long, Miss Lizie Jane.
+          Perhaps you'll [34]sack "Ole Sour Bill"
+          An' git choked on "Sugar Cain."
+
+[34] Sack = To reject as a lover.
+
+
+
+
+COURTSHIP RHYME SECTION
+
+
+ANTEBELLUM COURTSHIP INQUIRY
+
+    (He)  Is you a flyin' lark or a settin' dove?
+    (She) I'se a flyin' lark, my honey Love.
+    (He)  Is you a bird o' one fedder, or a bird o' two?
+    (She) I'se a bird o' one fedder, w'en it comes to you.
+    (He)  Den, Mam:
+            I has desire, an' quick temptation,
+            To jine my fence to y[=o]' plantation.
+
+
+INVITED TO TAKE THE ESCORT'S ARM
+
+    Miss, does you lak strawberries?
+    ____*____*____*____*____*____
+    Den hang on de vine.
+    ____*____*____*____*____*____
+    Miss, does you lak chicken?
+    ____*____*____*____*____*____
+    Den have a wing dis time.
+
+
+SPARKING OR COURTING
+
+    I'se heaps older dan three.
+    I'se heaps thicker dan barks;
+    An' de older I gits,
+    De m[=o]' harder I sparks.
+
+    I sparks fast an' hard,
+    For I'se feared I mought fail.
+    Dough I'se gittin' ole,
+    I don't co't lak no snail.
+
+
+A CLANDESTINE LETTER
+
+    Kind Miss:  If I sent you a letter,
+                By de crickets,
+                Through de thickets,
+                How'd you answer better?
+
+    Kind Suh:   I'd sen' you a letter,
+                By de mole,
+                Not to be t[=o]l';
+                Fer dat's m[=o]' secretter.
+
+
+ANTEBELLUM MARRIAGE PROPOSAL
+
+(_A proposal of marriage with the answer deferred_)
+
+    (He)  De ocean, it's wide; de sea, it's deep.
+          Yes, in y[=o]' arms I begs to sleep,
+          Not fer one time, not fer three;
+          But long as we-uns can agree.
+
+    (She) Please gimme time, Suh, to "reponder;"
+          Please gimme time to "gargalize;"
+          Den 'haps I'll tu'n to "cattlegog,"
+          An' answer up 'greeable fer a s'prise.
+
+
+IF YOU FROWN
+
+    If you frowns, an' I frowns,
+    W'en we goes out togedder;
+    Den all de t'other folks aroun'
+    Will say: "De rain is fallin' down
+    Right in de sunshine wedder!"
+
+
+"LET'S MARRY" COURTSHIP
+
+(_A proposal of marriage, with a provisional acceptance_)
+
+    (He)  Oh Miss Lizie, how I loves you!
+          My life's jes los' if you hain't true.
+          If you loves me lak I loves you,
+          No knife cain't cut our love in two.
+
+    (She) Grapevine warp, an' cornstalk fillin';
+          I'll marry you if mammy an' daddy's willin'.
+
+    (He)  Rabbit hop an' long dog trot!
+          Let's git married if dey say "not."
+
+
+COURTSHIP
+
+(_A proposal of marriage with its acceptance_)
+
+    Kind Miss:  I'se on de stage o' action,
+                Pleadin' hard fer satisfaction,
+                Pleadin' 'fore de time-thief late;
+                Darfore, Ma'm, now, [35]"cravenate."
+
+                If I brung to you a gyarment;
+                To be cut widout scissors,
+                An' to be sewed widout thread;
+                How (I ax you) would you make it,
+                Widout de needle sewin'
+                An' widout de cloth spread?
+
+    Kind Suh:   I'd make dat gyarment
+                Wid love from my heart,
+                Wid tears on y[=o]' head;
+                We never would part.
+
+[35] Cravenate = consider.
+
+
+I WALKED THE ROADS
+
+    Well: I walked de roads, till de roads git muddy.
+          I talked to dat pretty gal, till I couldn' stan' study.
+
+    Den:  I say: "Love me liddle," I say; "Love me long."
+          I say: "Let dat liddle be 'doggone' strong!
+          For, shore as dat rat runs 'cross de rafter,
+          So shore you'se de gal, you'se de gal I'se after."
+
+
+PRESENTING A HAT TO PHOEBE
+
+    Sister Phoebe:  Happy wus we,
+                    W'en we sot under dat Juniper tree.
+                    Take dis hat, it'll keep y[=o]' head warm.
+                    Take dis kiss, it'll do you no harm.
+
+    Sister Phoebe:  De hours, dey're few;
+                    But dis hat'll say I'se thinkin' 'bout you.
+                    Sugar, it's sugar; an' salt, it's salt;
+                    If you don't love me, it's sh[=o]' y[=o]' own fault.
+
+
+WOOING
+
+    W'at is dat a wukin
+    At y[=o]' han' bill on de wall,
+    So's y[=o]' sperit, it cain't res',
+    An' a gemmun's heat, it call?
+
+    Is you lookin' fer sweeter berries
+    Growin' on a higher bush?
+    An' does my combersation suit?
+    If not, w'at does you wush?
+
+
+
+
+COURTSHIP SONG RHYME SECTION
+
+
+THE COURTING BOY
+
+    W'en I wus a liddle boy,
+    Jes fifteen inches high;
+    De way I court de pretty gals,
+    It make de ole folks cry.
+
+    De geese swim in de middle pon'.
+    De ducks fly 'cross de clover.
+    Run an' tell dem pretty gals,
+    Dat I'se a-comin' over.
+
+    Ho! Marindie! Ho!
+    Ho! Missindie! Ho!
+    Ho! Malindie! Ho! my gal!
+    I'se gwine now to see ole Sal.
+
+
+PRETTY POLLY ANN
+
+    I'se gwineter marry, if I can.
+    I'se gwineter marry pretty Polly Ann.
+
+    I axed Polly Ann, fer to marry me.
+    She say she's a-lookin' fer a Nigger dat's free.
+
+    Pretty Polly Ann's jes dressed so fine!
+    I'll bet five dollars she hain't got a dime.
+
+    Pretty Polly Ann's jes a-puttin' on airs,
+    She won't notice me, but nobody cares.
+
+    I'll drop Polly Ann, a-lookin' lak a crane;
+    I 'spec's I'll marry Miss Lize Jane.
+
+
+
+
+MARRIAGE RHYME SECTION
+
+
+SLAVE MARRIAGE CEREMONY SUPPLEMENT
+
+    Dark an' stormy may come de wedder;
+    I jines dis he-male an' dis she-male togedder.
+    Let none, but Him dat makes de thunder,
+    Put dis he-male an' dis she-male asunder.
+    I darfore 'nounce you bofe de same.
+    Be good, go 'long, an' keep up y[=o]' name.
+    De broomstick's jumped, de worl's not wide.
+    She's now y[=o]' own. Salute y[=o]' bride!
+
+
+
+
+MARRIED LIFE RHYME SECTION
+
+
+THE NEWLY WEDS
+
+    First Mont': "Set down in my cabin, Honey!"
+     Nex' Mont': "Stan' up, my Pie."
+    Third Mont': "You go to wuk, you Wench!
+                  You well to wuk as I!"
+
+
+WHEN I GO TO MARRY
+
+    W'en I goes to marry,
+    I wants a gal wid money.
+    I wants a pretty black-eyed gal
+    To kiss an' call me "Honey."
+
+    Well, w'en I goes to marry,
+    I don't wanter git no riches.
+    I wants a man 'bout four foot high,
+    So's I can w'ar de britches.
+
+
+BOUGHT ME A WIFE
+
+    Bought me a wife an' de wife please me,
+    I feeds my wife un'er yon'er tree.
+    My wife go: "Row-row!"
+    My guinea go: "Potrack! Potrack!"
+    My chicken go: "Gymsack! Gymsack!"
+    My duck go: "Quack-quack! Quack-quack!"
+    My dog go: "Bow-bow!"
+    My hoss go: "Whee-whee! Whee-whee!"
+    My cat go: "Fiddle-toe! Fiddle-toe!"
+
+
+WHEN I WAS A "ROUSTABOUT"
+
+    W'en I wus a "Roustabout," wild an' young,
+    I co'ted my gal wid a mighty slick tongue.
+    I t[=o]l' her some oncommon lies dere an' den.
+    I t[=o]l' her dat we'd marry, but I didn' say w'en.
+
+    So on a Mond'y mornin' I tuck her fer my wife.
+    Of co'se I wus 'spectin' an agreeable life.
+    But on a Chuesd'y mornin' she chuned up her pipe,
+    An' she 'bused me more 'an I'd been 'bused all my life.
+
+    On a Wednesd'y evenin', as I come 'long home,
+    I says to myse'f dat she wus all my own;
+    An' on a Thursd'y night I went out to de woods,
+    An' I cut me two big fine tough leatherwoods.
+
+    So on a Frid'y mornin' w'en she roll me 'er eyes,
+    I retched fer my leatherwoods to give 'er a s'prise,
+    Dem long keen leatherwoods wuked mighty well,
+    An' 'er tongue, it jes rattle lak a clapper in a bell.
+
+    On a Sadd'y mornin' she sleep sorter late;
+    An' de las' time I see'd her, she 'us gwine out de gate.
+    I wus feedin' at de stable, lookin' out through a crack,
+    An' she lef' my log cabin 'fore I could git back.
+
+    On a Sund'y mornin', as I laid on my bed,
+    I didn' have no Nigger wife to bother my head.
+    Now whisky an' brandy jug's my biges' bes' friend,
+    An' my long week's wuk is about at its end.
+
+
+MY FIRST AND MY SECOND WIFE
+
+    My fust liddle wife wus short an' fat.
+    Her face wus as black as my ole hat,
+    Her nose all flat, an' her eyes sunk in,
+    An' dat lip hang down below her chin.
+        Now wusn't I sorrowful in mind?
+
+    W'en I went down to dat wife's brother;
+    He said: "She 'us tired. Gwineter marry 'nother."
+    If I ever ketches dat city Coon,
+    He railly mought see my razzer soon.
+        Den I 'spec's he'd be troubled in mind!
+
+    My nex' wife hug an' kiss me,
+    She call me "Sugar Plum!"
+    She throw her arms 'round me,
+    Lak a grapevine 'round de gum!
+        Wusn't dat glory to my soul!
+
+    Her cheeks, dey're lak de cherry;
+    Dat Cherry, it's lak de rose.
+    Wid a liddle dimple in her chin,
+    An' a liddle tu'ned up nose!
+        Oh, hain't I happy in mind!
+
+    I'se got you, Lou, now fer my wife.
+    Keep new Coons 'way, "My Pie!"
+    Caze, if you don't, I tells you now,
+    Dat we all three mought die.
+        Den we'd be troubled in min'!
+
+
+GOOD-BY, WIFE!
+
+    I had a liddle wife,
+    An' I didn' want to kill 'er;
+    So I tuck 'er by de heels,
+    An' I throwed 'er in de river.
+    "Good-by, Wife! Good-by, Honey!
+    Hadn' been fer you,
+    I'd a had a liddle money."
+
+    My liddle fussy wife
+    Up an' say she mus' have scissors;
+    An' druther dan to fight,
+    I'd a throwed 'er in three rivers.
+    But she crossed dem fingers, w'en she go down,
+    An' a liddle bit later
+    She walk out on de groun'.
+
+
+
+
+NURSERY RHYME SECTION
+
+
+AWFUL HARBINGERS[36]
+
+    W'en de big owl whoops,
+    An' de screech owl screeks,
+    An' de win' makes a howlin' sound;
+    You liddle wooly heads
+    Had better kiver up,
+    Caze de "hants" is comin' 'round.
+
+[36] This little rhyme is based upon a superstition once current among
+Negroes, to the effect that bad luck would come when a screech owl
+called near your home at night unless, upon hearing him, you would stick
+the handle of a shovel into the fire about which you were sitting, or
+would throw salt into it. The word "hant" means ghost or spirit.
+
+
+THE LAST OF JACK
+
+    I had a liddle dog, his name wus Jack;
+    He run forty mile 'fore he look back.
+    W'en he look back, he fall in a crack;
+    W'en he fall in a crack, he break 'is back;
+    An' dat wus de las' o' poor liddle Jack.
+
+
+LITTLE DOGS
+
+    I had a liddle dog; his name wus Ball;
+    W'en I give him a liddle, he want it all.
+
+    I had a liddle dog, his name wus Trot;
+    He helt up his tail, all tied in a knot.
+
+    I had a liddle dog, his name wus Blue;
+    I put him on de road, an' he almos' flew.
+
+    I had a liddle dog, his name wus Mack;
+    I rid his tail fer to save his back.
+
+    I had a liddle dog, his name wus Rover;
+    W'en he died, he died all over.
+
+    I had a liddle dog, his name wus Dan;
+    An' w'en he died, I buried 'im in de san'.
+
+
+MY DOG, CUFF
+
+    I had a liddle dog, his name wus Cuff;
+    I sent 'im to town to buy some snuff.
+    He drapped de bale, an' he spilt de snuff,
+    An' I guess dat speech is long enough.
+
+
+SAM IS A CLEVER FELLOW
+
+    Say! Is y[=o]' peaches ripe, my boy,
+    An' is y[=o]' apples meller?
+    Go an' tell Miss Katie Jones
+    Dat Sam's a clever feller.
+
+    Say! Is y[=o]' cherries red, my boy,
+    An' is y[=o]' plums all yeller?
+    Oh please run tell Miss Katie Jones
+    Dat Sam's a clever feller.
+
+
+THE GREAT OWL'S SONG
+
+    Ah-hoo-hoo? Ah-hoo-hoo? Ah-hoo-hoo----?
+    An' who'll cook fer Kelline, an' who'll cook fer you----?
+    I will cook fer myse'f, I won't cook fer you.
+    Ah-hoo-hoo! Ah-hoo-hoo! Ah-hoo----!
+
+    Ah-hoo-hoo! Ah-hoo-hoo! Ah-hoo-hoo! Ah-hoo----!
+    I wonder if Kelline would not cook fer Hue----?
+    Fer dis is Big Sandy! It's Big Sandy Hue----!
+    Ah-hoo-hoo! Ah-hoo-hoo! Ah-hoo-hoo! Ah-hoo----!
+
+    Ah-ha-hah! Ah-ha-hah! Ah-ha-hah! Ah-hah----!
+    I thought you 'us ole Bill Jack as black as de tah.
+    You really must 'scuse me, my "Honey Lump Pa."
+    Ah-ha-hah! Ah-ha-hah! Ah-ha-hah! Ah-hah----!
+
+    An' since I'se been Kelline, an' you'se Big Sandy Hue;
+    I will cook fer myse'f, an' I will cook fer you.
+    I'll love you forever, an' sing in de dew:
+    "Ah-hoo-hoo! Ah-hoo-hoo! Ah-hoo-hoo! Ah-hoo----!"
+
+    Yes!--Ah-hoo-hoo! Ah-hoo-hoo! Ah-hoo-hoo! Ah-hoo-all!
+    Now, we'll cook fer ourse'fs, but who'll cook fer you all?
+    Fer Tom Dick an' his wife, fer Pete Snap an' Shoe-Awl,
+    Rough Shot De Shoe-boot, an' de Lawd He knows who all?
+
+
+HERE I STAND
+
+    Here I stan', raggity an' dirty;
+    If you don't come kiss me, I'll run lak a tucky.
+
+    Here I stan' on two liddle chips,
+    Pray, come kiss my sweet liddle lips.
+
+    Here I stan' crooked lak a horn;
+    I hain't had no kiss since I'se been born.
+
+
+PIG TAIL
+
+    Run boys, run!
+    De pig tail's done.
+    If you don't come quick,
+    You won't git none.
+
+    Pig ham's dere,
+    Lakwise middlin's square;
+    But dese great big parts
+    Hain't no Nigger's bes' fare.
+
+
+A, B, C
+
+    A, B, C,
+    Doubled down D;
+    I'se so lazy you cain't see me.
+
+    A, B, C,
+    Doubled down D
+    Lazy Chilluns gits hick'ry tea.
+
+    A, B, C,
+    Doubled down D,
+    Dat "cat's" in de cupboard an' hid. You see?
+
+    A, B, C,
+    Doubled down D,
+    You'd better come out an' wuk lak me.
+
+
+NEGRO BAKER MAN
+
+    Patty cake! Patty cake! Nigger Baker man.
+    Missus an' Mosser gwineter ketch 'im if dey can.
+    Put de liddle Nigger in Mosser's dish pan,
+    An' scrub 'im off good fer de ole San' Man.
+
+
+STICK-A-MA-STEW
+
+    Stick-a-ma-stew, he went to town.
+    Stick-a-ma-stew, he tore 'is gown.
+    All dem folks what live in town
+    Cain't mend dat randsome, handsome gown.
+
+
+BOB-WHITE'S SONG
+
+    Bob-white! Bob-white!
+    Is y[=o]' peas all ripe?
+    No--! not--! quite!
+
+    Bob-white! Bob-white!
+    W'en will dey be ripe?
+    To-mor--! row--! might!
+
+    Bob-white! Bob-white!
+    Does you sing at night?
+    No--! not--! quite!
+
+    Bob-white! Bob-white!
+    W'en is de time right?
+    At can--! dle--! light!
+
+
+COOKING DINNER
+
+    Go:   Bile dem cabbage down.
+          Turn dat hoecake 'round,
+          Cook it done an' brown.
+
+    Yes:  Gwineter have sweet taters too.
+          Hain't had none since las' Fall,
+          Gwineter eat 'em skins an' all.
+
+
+CHUCK WILL'S WIDOW SONG
+
+    Oh nimber, nimber Will-o!
+    My crooked, crooked bill-o!
+    I'se settin' down right now, on
+      de sweet pertater hill-o.
+
+    Oh nimber, nimber Will-o!
+    My crooked, crooked bill-o!
+    Two liddle naked babies, my two
+      brown aigs now fill-o.
+
+    Oh nimber, nimber Will-o!
+    My crooked, crooked bill-o!
+    Don't hurt de liddle babies; dey
+      is too sweet to kill-o.
+
+
+BRIDLE UP A RAT
+
+    Bridle up er rat,
+    Saddle up er cat,
+    An' han' me down my big straw hat.
+
+    In come de cat,
+    Out go de rat,
+    Down go de baby wid 'is big straw hat.
+
+
+MY LITTLE PIG
+
+    You see:  I had a liddle pig,
+              I fed 'im on slop;
+              He got so fat
+              Dat he almos' pop.
+
+    An' den:  I tuck de liddle pig,
+              An' I rid 'im to school;
+              He e't ginger cake,
+              An' it tu'n 'im a fool.
+
+    But:      He grunt de lessons,
+              An' keep all de rule,
+              An' he make 'em all think
+              Dat he learn in de cool.
+
+
+IN A MULBERRY TREE
+
+    Jes looky, looky yonder; w'at I see!
+    Two liddle Niggers in a Mulberry tree.
+    One cain't read, an' de t'other cain't write.
+    But dey bofe can smoke deir daddy's pipe.
+
+    "One ma two! One ma two!"
+    Dat Mulberry Witch, he [37]titterer too.
+    "Big bait o' Mulberries make 'em bofe sick.
+    Dem liddle Niggers gwineter roll an' kick!"
+
+[37] Titterer means laugh.
+
+
+ANIMAL ATTIRE
+
+    Dat Coon, he w'ar a undershirt;
+    Dat 'Possum w'ar a gown.
+    Br'er Rabbit, he w'ar a overcoat
+    Wid buttons up an' down.
+
+    Mistah Gobbler's got beads 'roun' 'is nec'.
+    Mistah Pattridge's got a collar, Hun!
+    Mistah Peacock, a fedder on his head!
+    But dese don't stop no gun.
+
+
+ASPIRATION
+
+    If I wus de President
+    Of dese United States,
+    I'd eat good 'lasses candy,
+    An' swing on all de gates.
+
+
+ANIMAL FAIR
+
+    Has you ever hearn tell 'bout de Animal Fair?
+    Dem birds an' beasts wus all down dere.
+    Dat jaybird a-settin' down on 'is wing!
+    Has you ever hearn tell about sitch a thing
+    As whut 'us at dat Animal Fair?
+
+    Well, dem animals had a Fair.
+    Dem birds an' beasts wus dere.
+    De big Baboon,
+    By de light o' de moon,
+    Jes comb up his sandy hair.
+
+    De monkey, he git drunk,
+    He kick up a red hot chunk.
+    Dem coals, dey 'rose;
+    An' bu'nt 'is toes!
+    He clumb de Elephan's trunk.
+
+    I went down to de Fair.
+    Dem varmints all wus dere.
+    Dat young Baboon
+    Wunk at Miss Coon;
+    Dat curled de Elephan's hair.
+
+    De Camel den walk 'bout,
+    An' tromped on de Elephan's snout.
+    De Elephan' sneeze,
+    An' fall on his knees;
+    Dat pleased all dem monk[=e]ys.
+
+
+LITTLE BOY WHO COULDN'T COUNT SEVEN
+
+    Once der wus a liddle boy dat couldn' count one.
+    Dey pitched him in a fedder bed; 'e thought it great big fun.
+
+    Once der wus a liddle boy dat couldn' count two.
+    Dey pitched him in a fedder bed; 'e thought 'e 'us gwine through.
+
+    Once der wus a liddle boy dat couldn' count three.
+    Dey pitched him in a fedder bed; 'e thought de Niggers 'us free.
+
+    Once der wus a liddle boy dat couldn' count f[=o]'.
+    Dey pitched him in a fedder bed; 'e jumped out on de fl[=o]'.
+
+    Once der wus a liddle boy dat couldn' count five.
+    Dey pitched him in a fedder bed; 'e thought de dead alive.
+
+    Once der wus a liddle boy dat couldn' count six.
+    Dey pitched him in a fedder bed; 'e never did git fix!
+
+    Once der wus a liddle boy dat couldn' count seben.
+    Dey pitched him in a fedder bed; 'e thought he's gwine to Heaben!
+
+
+MISS TERRAPIN AND MISS TOAD
+
+    As I went marchin' down de road,
+    I met Miss Tearpin an' I met Miss Toad.
+    An' ev'ry time Miss Toad would jump,
+    Miss Tearpin would peep from 'hind de stump.
+
+    I axed dem ladies fer to marry me,
+    An' bofe find fault wid de t'other, you see.
+    "If you marries Miss Toad," Miss Tearpin said,
+    "You'll have to hop 'round lak you'se been half dead!"
+
+    "If you combs y[=o]' head wid a Tearpin comb,
+    You'll have to creep 'round all tied up at home."
+    I run'd away frum dar, my foot got bruise,
+    For I didn't know zackly which to choose.
+
+
+FROM SLAVERY
+
+    Chile: I come from out'n slavery,
+    Whar de Bull-whup bust de hide;
+    Back dar, whar dis gineration
+    Natchully widdered up an' died!
+
+
+THE END OF TEN LITTLE NEGROES
+
+    Ten liddle Niggers, a-eatin', fat an' fine;
+    One choke hisse'f to death, an' dat lef' nine.
+    Nine liddle Niggers, dey sot up too late;
+    One sleep hisse'f to death, an' dat lef' eight.
+    Eight liddle Niggers want to go to Heaben;
+    One sing hisse'f to death, an' dat lef' seben.
+    Seben liddle Niggers, a-pickin' up sticks;
+    One wuk hisse'f to death, an' dat lef' six.
+    Six liddle Niggers went out fer to drive;
+    Mule run away wid one, an' dat lef' five.
+    Five liddle Niggers in a cold rain pour;
+    One coughed hisse'f to death, an' dat lef' four.
+    Four liddle Niggers, climb a' apple tree;
+    One fall down an' out, an' dat lef' three.
+    Three liddle Niggers a-wantin' sumpin new;
+    One, he quit de udders, an' dat lef' two.
+    Two liddle Niggers went out fer to run;
+    One fell down de bluff, an' dat lef' one.
+    One liddle Nigger, a-foolin' wid a gun;
+    Gun go off "bang!" an' dat lef' none.
+
+
+THE ALABAMA WAY
+
+    'Way down yon'er "in de Alerbamer way,"
+    De Niggers goes to wo'k at de peep o' de day.
+    De bed's too short, an' de high posts rear;
+    De Niggers needs a ladder fer to climb up dere.
+    De cord's wore out, an' de bed-tick's gone.
+    Niggers' legs hang down fer de chickens t' roost on.
+
+
+MOTHER SAYS I AM SIX YEARS OLD
+
+    My mammy says dat I'se too young
+    To go to Church an' pray;
+    But she don't know how bad I is
+    W'en she's been gone away.
+
+    My mammy says I'se six years old,
+    My daddy says I'se seben.
+    Dat's all right how old I is,
+    Jes since I'se a gwine to Heaben.
+
+
+THE ORIGIN OF THE SNAKE
+
+    Up de hill an' down de level!
+    Up de hill an' down de level!
+    Granny's puppy treed de Devil.
+
+    Puppy howl, an' Devil shake!
+    Puppy howl, an' Devil shake!
+    Devil leave, an' dere's y[=o]' snake.
+
+    Mash his head; de sun shine bright!
+    Mash his head; de sun shine bright!
+    Tail don't die ontel it's night.
+
+    Night come on, an' sperits groan!
+    Night come on, an' sperits groan!
+    Devil come an' gits his own.
+
+
+WILD HOG HUNT
+
+    Nigger in de woods, a-settin' on a log;
+    Wid his finger on de trigger, an' his eyes upon de hog.
+    De gun say "bam!" an' de hog say "bip!"
+    An' de Nigger grab dat wild hog wid all his grip.
+
+
+A STRANGE BROOD
+
+    De ole hen sot on tucky aigs,
+    An' she hatch out goslin's three.
+    Two wus tuckies wid slender legs,
+    An' one wus a bumblebee.
+    All dem hens say to one nudder:
+    "Mighty queer chickens! See?"
+
+
+THE TOWN AND THE COUNTRY BIRD
+
+    Jaybird a-swingin' a two hoss plow;
+    "Sparrer, why not you?"
+    "W'y--! My legs so liddle an' slender, man,
+    I'se fear'd dey'd break in two."
+
+    Jaybird answer: "What'd you say?--
+    I sometimes worms terbaccy;
+    But I'd druther plow sweet taters too,
+    Dan to be a ole Town Tacky!"
+
+    Jaybird up in de Sugar tree,
+    De sparrer on de groun';
+    De jaybird shake de sugar down,
+    An' de sparrer pass it 'roun'.
+
+    De jaybird say: "Save some fer me;
+    I needs it w'en I bakes."
+    De sparrer say: "Use 'lasses, Suh!
+    Dat suits fer Country-Jakes!"
+
+
+FROG IN A MILL ([38]GUINEA OR EBO RHYME)
+
+    Once dere wus er frog dat lived in er mill.
+    He had er raker don la bottom o' la kimebo
+    Kimebo, nayro, dilldo, kiro
+    Stimstam, formididdle, all-a-board la rake;
+    Wid er raker don la bottom o' la kimebo.
+
+[38] For explanation, read the Study in Negro Folk Rhymes.
+
+
+STRONG HANDS
+
+    Here's y[=o]' bread, an' here's y[=o]' butter;
+    An' here's de hands fer to make you sputter.
+
+    Tetch dese hands, w'en you wants to tetch a beaver.
+    If dese hands tetch you, you'll sh[=o]' ketch de fever.
+
+    Dese hands Samson, good fer a row,
+    W'en dey hits you, it's "good-by cow!"
+
+
+TREE FROGS (GUINEA OR EBO RHYME)
+
+    Shool! Shool! Shool! I rule!
+    Shool! Shool! Shool! I rule!
+    Shool! Shacker-rack!
+    I shool bubba cool.
+
+    Seller! Beller eel!
+    Fust to ma tree'l
+    Just came er bubba.
+    Buska! Buska-reel!
+
+
+WHEN I WAS A LITTLE BOY
+
+    W'en I wus a liddle boy
+    I cleaned up mammy's dishes;
+    Now I is a great big boy,
+    I wears my daddy's britches.
+    I can knock dat Mobile Buck
+    An' smoke dat corncob pipe.
+    I can kiss dem pretty gals,
+    An' set up ev'ry night.
+
+
+GRASSHOPPER SENSE
+
+    Dere wus a liddle grasshopper
+    Dat wus always on de jump;
+    An' caze he never look ahead,
+    He wus always gittin' a bump.
+
+    Huddlety, dumpty, dumpty, dump!
+    Mind out, or you will git a bump;
+    Shore as de grass grows 'round de stump
+    Be keerful, my sweet Sugar Lump.
+
+
+YOUNG MASTER AND OLD MASTER
+
+    Hick'ry leaves an' calico sleeves!
+    I tells you young Mosser's hard to please.
+    Young Mosser fool you, de way he grin.
+    De way he whup you is a sin.
+
+    De monkey's a-settin' on de end of a rail,
+    Pickin' his tooth wid de end of his tail.
+    Mulberry leaves an' homespun sleeves!
+    Better know dat ole Mosser's not easy to please.
+
+
+MY SPECKLED HEN
+
+    Somebody stole my speckled hen.
+    Dey lef' me mighty p[=o]o'.
+    Ev'ry day she layed three aigs,
+    An' Sunday she lay f[=o]'.
+
+    Somebody stole my speckled hen.
+    She crowed at my back d[=o]'.
+    Fedders, dey shine jes lak de sun;
+    De Niggers grudged her m[=o]'.
+
+    [39]De whis'lin' gal, an' de crowin' hen,
+    Never comes to no good en'.
+    Stop dat whis'lin'; go on an' sing!
+    'Member dat hen wid 'er shinin' wing.
+
+[39] An old superstition.
+
+
+THE SNAIL'S REPLY
+
+    Snail! Snail! Come out'n o' y[=o]' shell,
+    Or I'll beat on y[=o]' back till you rings lak a bell.
+
+    "I do ve'y well," sayed de snail in de shell,
+    "I'll jes take my chances in here whar I dwell."
+
+
+A STRANGE FAMILY
+
+    Once dere's an ole 'oman dat lived in de Wes'.
+    She had two gals of de very bes'.
+    One wus older dan de t'other,
+    T'other's older dan her mother,
+    An' dey're all deir own gran'mother.
+    Can you guess?
+
+
+GOOD-BY, RING
+
+    I had a liddle dog, his name wus Ring,
+    I tied him up to his nose wid a string.
+    I pulled dat string, an' his eyes tu'n blue.
+    "Good-by, Ring! I'se done wid you."
+
+
+DEEDLE, DUMPLING
+
+    Deedle, deedle, dumplin'! My boy, Pete!
+    He went to bed wid his dirty feet.
+    Mammy laid a switch down on dat sheet!
+    Deedle, deedle, dumplin'! My boy, Pete!
+
+
+BUCK AND BERRY
+
+    Buck an' Berry run a race,
+    Buck fall down an' skin his face.
+
+    Buck an' Berry in a stall;
+    Buck, he try to eat it all.
+
+    Buck, he e't too much, you see.
+    So he died wid choleree.
+
+
+PRETTY LITTLE GIRL
+
+    Who's been here since I'se been gone?
+      A pretty liddle gal wid a blue dress on.
+
+    Who'll stay here when I goes 'way?
+      A pretty liddle gal, all dressed in gray.
+
+    Who'll wait on Mistess day an' night?
+      A pretty liddle gal, all dressed in white.
+
+    Who'll be here when I'se been dead?
+      A pretty liddle gal, all dressed in red.
+
+
+TWO SICK NEGRO BOYS
+
+    Two liddle Niggers sick in bed,
+    One jumped up an' bumped his head.
+    W'en de Doctah come he simpully said:
+    "Jes feed dat boy on shorten' bread."
+
+    T'other liddle Nigger sick in bed,
+    W'en he hear tell o' shorten' bread,
+    Popped up all well. He dance an' sing!
+    He almos' cut dat Pigeon's Wing!
+
+
+GRASSHOPPER SITTING ON A SWEET POTATO VINE
+
+    Grasshopper a-settin' on a sweet tater vine,
+    'Long come a Blackbird an' nab him up behind.
+
+    Blackbird a-settin' in a sour apple tree;
+    Hawk grab him up behind; he "Chee! Chee! Chee!"
+
+    Big hawk a-settin' in de top of dat oak,
+    Start to eat dat Blackbird an' he git choke.
+
+
+DOODLE-BUG
+
+    Doodle-bug! Doodle-bug! Come git sweet milk.
+    Doodle-bug! Doodle-bug! Come git butter.
+    Doodle-bug! Doodle-bug! Come git co'n bread.
+    Doodle-bug! Doodle-bug! Come on to Supper.
+
+
+RAW HEAD AND BLOODY BONES[40]
+
+    Don't talk! Go to sleep!
+    Eyes shet an' don't you peep!
+    Keep still, or he jes moans:
+    "Raw Head an' Bloody Bones!"
+
+[40] Repeated to restless children at night to make them lie still and
+go to sleep.
+
+
+MYSTERIOUS FACE WASHING
+
+    I wash my face in de watah
+    Dat's neider rain nor run.
+    I wipes my face on de towel
+    Dat's neider wove nor spun.--
+    I wash my face in de dew,
+    An' I dries it in de sun.
+
+
+GO TO BED
+
+    De wood's in de kitchen.
+    De hoss's in de shed.
+    You liddle Niggers
+    Had better go to bed.
+
+
+BUCK-EYED RABBIT! WHOOPEE![41]
+
+    Dat Squir'l, he's a cunnin' thing;
+    He tote a bushy tail.
+    He jes lug off Uncle Sambo's co'n,
+    An' heart it on a rail.
+
+    Dat Squir'l, he's a cunnin' thing;
+    An' so is ole Jedge B'ar.
+    Br'er Rabbit's gone an' los' his tail
+    'Cep' a liddle bunch of ha'r.
+
+    Buckeyed Rabbit! Whoopee!
+    Buckeyed Rabbit! Ho!
+    Buckeyed Rabbit! Whoopee!
+    Squir'l's got a long way to go.
+
+[41] The explanation of this rhyme is found in the Study in Negro Folk
+Rhymes.
+
+
+CAPTAIN COON
+
+    Captain Coon's a mighty man,
+    He trabble atter dark;
+    Wid nothin' 'tall to 'sturb his mind,
+    But to hear my ole dog bark.
+
+    Dat 'Possum, he's a mighty man,
+    He trabble late at night.
+    He never think to climb a tree,
+    'Till he's feared ole Rober'll bite.
+
+
+GUINEA GALL
+
+    'Way down yon'er in Guinea Gall,
+    De Niggers eats de fat an' all.
+    'Way down yon'er in de cotton fiel',
+    Ev'ry week one peck o' meal.
+    'Way down yon'er ole Mosser swar';
+    Holler at you, an' pitch, an' r'ar;
+        Wid cat o' nine tails,
+        Wid pen o' nine nails,
+        Tee whing, tee bing,
+        An' ev'ry thing!
+
+
+FISHING SIMON
+
+    Simon tuck his hook an' pole,
+    An' fished on Sunday we's been told.
+    Fish dem water death bells ring,
+    Talk from out'n de water, sing--
+    "Bait y[=o]' hook, Simon!
+    Drap y[=o]' line, Simon!
+    Now ketch me, Simon!
+    Pull me out, Simon!
+    Take me home, Simon!
+    Now clean me, Simon!
+    Cut me up now, Simon!
+    Now salt me, Simon!
+    Now fry me, Simon!
+    Dish me up now, Simon!
+    Eat me all, Simon!"
+    Simon e't till he wus full.
+    Still dat fish keep his plate fall.
+    Simon want no m[=o]' at all,
+    Fish say dat he mus' eat all.
+    Simon's sick, so he throw up!
+    He give Sunday fishin' up.
+
+
+A STRANGE OLD WOMAN
+
+    Dere wus an ole 'oman, her name wus Nan.
+    She lived an 'oman, an' died a man.
+    De ole 'oman lived to be dried up an' cunnin';
+    One leg stood still, while de tother kep' runnin'.
+
+
+IN '76
+
+    Way down yonder in sebenty-six,
+    Whar I git my jawbone fix;
+    All dem coon-loons eatin' wid a spoon!
+    I'll be ready fer dat Great Day soon.
+
+
+REDHEAD WOODPECKER
+
+    Redhead woodpecker: "Chip! Chip! Chee!"
+    Promise dat he'll marry me.
+    Whar shall de weddin' supper be?
+    Down in de lot, in a rotten holler tree.
+    What will de weddin' supper be?
+    A liddle green worm an' a bumblebee,
+    'Way down yonder on de holler tree.
+    De Redhead woodpecker, "Chip! Chip! Chee!"
+
+
+OLD AUNT KATE
+
+    Jes look at Ole Aunt Kate at de gyardin gate!
+        She's a good ole 'oman.
+        W'en she sift 'er meal, she give me de husk;
+        W'en she cook 'er bread, she give me de crust.
+        She put de hosses in de stable;
+        But one jump out, an' skin his nable.
+    Jes look at Ole Aunt Kate at de gyardin gate!
+        Still she's always late.
+
+    Hurrah fer Ole Aunt Kate by de gyardin gate!
+        She's a fine ole 'oman.
+        Git down dat sifter, take down dat tray!
+        Go 'long, Honey, dere hain't no udder way!
+        She put on dat hoe cake, she went 'round de house.
+        She cook dat 'Possum, an' she call 'im a mouse!
+    Hurrah fer Ole Aunt Kate by de gyardin gate!
+        She's a fine playmate.
+
+
+CHILDREN'S SEATING RHYME
+
+    You set outside, an' ketch de cow-hide.
+    I'll set in de middle, an' play de gol' fiddle.
+    You set 'round about, an' git scrouged out.
+
+
+MY BABY
+
+    I'se de daddy of dis liddle black baby.
+    He's his mammy's onliest sweetest liddle Coon.
+    Got de look on de forehead lak his daddy,
+    Pretty eyes jes as big as de moon.
+
+    I'se de daddy of dis liddle black baby.
+    Yes, his mammy keep de "Sugar" rollin' over.
+    She feed him wid a tin cup an' a spoon;
+    An' he kick lak a pony eatin' clover.
+
+
+A RACE-STARTER'S RHYME
+
+    One fer de money!
+    Two fer de show!
+    Three to git ready,
+    An' four fer to go!
+
+
+NESTING
+
+    De jaybird build on a swingin' lim',
+    De sparrow in de gyardin;
+    Dat ole gray goose in de panel o' de fence,
+    An' de gander on de t'other side o' Jordan.
+
+
+BABY WANTS CHERRIES
+
+    De cherries, dey're red; de cherries, dey're ripe;
+    An' de baby it want one.
+    De cherries, dey're hard; de cherries, dey're sour;
+    An' de baby cain't git none.
+
+    Jes look at dat bird in de cherry tree!
+    He's pickin' 'em one by one!
+    He's shakin' his bill, he's gittin' it fill',
+    An' down dat th'oat dey run!
+
+    Nev' mind! Bye an' bye dat bird's gwineter fly,
+    An' mammy's gwineter make dat pie.
+    She'll give you a few, fer de baby cain't chew,
+    An' de Pickaninny sholy won't cry.
+
+
+A PRETTY PAIR OF CHICKENS
+
+    Dat box-legged rooster, an' dat bow-legged hen
+    Make a mighty pretty couple, not to be no kin.
+    Dey's jes lak some Niggers wearin' white folks ole britches,
+    Dey thinks dey's lookin' fine, w'en dey needs lots of stitches.
+
+
+TOO MUCH WATERMELON
+
+    Dere wus a great big watermillion growin' on de vine.
+    Dere wus a liddle ugly Nigger watchin' all de time.
+    An' w'en dat great big watermillion lay ripenin' in de sun,
+    An' de stripes along its purty skin wus comin' one by one,
+    Dat ugly Nigger pulled it off an' toted it away,
+    An' he e't dat great big watermillion all in one single day.
+    He e't de rinds, an' red meat too, he finish it all trim;
+    An' den,--dat great big watermillion up an' finish him.
+
+
+BUTTERFLY
+
+    Pretty liddle butterfly, yaller as de gold,
+    My sweet liddle butterfly, you sh[=o]' is mighty bold.
+    You can dance out in de sun, you can fly up high,
+    But you know I'se bound to git you, yet, my liddle butterfly.
+
+
+THE HATED BLACKBIRD AND CROW
+
+    Dat Blackbird say unto de Crow:
+    "Dat's why de white folks hates us so;
+    For ever since ole Adam wus born,
+    It's been our rule to gedder green corn."
+
+    Dat Blackbird say unto de Crow:
+    "If you's not black, den I don't know.
+    White folks calls you black, but I say not;
+    Caze de kittle musn' talk about de pot."
+
+
+IN A RUSH
+
+    Here I comes jes a-rearin' an' a-pitchin',
+    I hain't had no kiss since I lef' de ole kitchin.
+    Candy, dat's sweet; dat's very, very clear;
+    But a kiss from y[=o]' lips would be sweeter, my dear.
+
+
+TAKING A WALK
+
+    We's a-walkin' in de green grass dust, dust, dust.
+    We's a-walkin' in de green grass dust.
+    If you's jes as sweet as I thinks you to be,
+    I'll take you by y[=o]' liddle hand to walk wid me.
+
+
+PAYING DEBTS WITH KICKS
+
+    I owes y[=o]' daddy a peck o' peas.
+    I'se gwineter pay it wid my knees.
+    I owes y[=o]' mammy a pound o' meat;
+    An' I'se gwineter pay dat wid my feet.
+    Now, if I owes 'em somethin' m[=o]';
+    You come right back an' let me know.
+    Please say to dem ('fore I fergets)
+    I never fails to pay my debts.
+
+
+GETTING TEN NEGRO BOYS TOGETHER
+
+    One liddle Nigger boy whistle an' stew,
+    He whistle up anudder Nigger an' dat make two.
+    Two liddle Nigger boys shuck de apple tree,
+    Down fall anudder Nigger, an' dat make three.
+    Three liddle Nigger boys, a-wantin' one more,
+    Never has no trouble a-gittin' up four.
+    Four liddle Nigger boys, dey cain't drive.
+    Dey hire a Nigger hack boy, an' dat make five.
+    Five liddle Niggers, bein' calcullated men,
+    Call anudder Nigger 'piece an' dat make ten.
+
+
+HAWK AND CHICKENS
+
+    Hen an' chickens in a fodder stack,
+    Mighty busy scratchin'.
+    Hawk settin' off on a swingin' lim',
+    Ready fer de catchin'.
+
+    Hawk come a-whizzin' wid his bitin' mouf,
+    Couldn' hold hisself in.
+    Hen, flyin' up, knock his eye clean out;
+    An' de Jaybird died a-laughin'.
+
+
+MUD-LOG POND
+
+    As I stepped down by de Mud-log pon',
+    I seed dat bullfrog wid his shoe-boots on.
+    His eyes wus glass, an' his heels wus brass;
+    An' I give him a dollar fer to let me pass.
+
+
+WHAT WILL WE DO FOR BACON?
+
+    What will we do fer bacon now?
+    I'se shot, I'se shot de ole sandy sow!
+    She jumped de fence an' broke de rail;
+    An'--"Bam!"--I shot her on de tail.
+
+
+A LITTLE PICKANINNY
+
+    Me an' its mammy is both gwine to town,
+    To git dis Pickaninny a liddle hat an' gown.
+    Don't you never let him waller on de fl[=o]'!
+    He's a liddle Pickaninny,
+    Born in ole Virginy.
+    Mammy! Don't de baby grow?
+
+    Setch a eatin' o' de honey an' a drinkin' o' de wine!
+    We's gwine down togedder fer to have a good time;
+    An' we's gwineter eat, an' drink m[=o]' an' m[=o]'.
+    Oh, sweet liddle [42]Pickaninny,
+    Born in ole Virginy.
+    Mammy! How de baby grow!
+
+[42] Pickanniny appears to have been an African word used by the early
+American slaves for the word baby.
+
+
+DON'T SING BEFORE BREAKFAST[43]
+
+    Don't sing out 'fore Breakfast,
+    Don't sing 'fore you eat,
+    Or you'll cry out 'fore midnight,
+    You'll cry 'fore you sleep.
+
+[43] A superstition.
+
+
+MY FOLKS AND YOUR FOLKS
+
+    If you an' y[=o]' folks
+    Likes me an' my folks,
+    Lak me an' my folks,
+    Likes you an' y[=o]' folks;
+    You's never seed folks,
+    Since folks 'as been folks,
+    Like you an' y[=o]' folks,
+    Lak me an' my folks.
+
+
+LITTLE SLEEPING NEGROES
+
+    One liddle Nigger a-lyin' in de bed;
+    His eyes shet an' still, lak he been dead.
+
+    Two liddle Niggers a-lyin' in de bed;
+    A-snorin' an' a-dreamin' of a table spread.
+
+    Three liddle Niggers a-lyin' in de bed;
+    Deir heels cracked open lak shorten' bread.
+
+    Four liddle Niggers a-lyin' in de bed;
+    Dey'd better hop out, if dey wants to git fed!
+
+
+MAMMA'S DARLING
+
+    Wid flowers on my shoulders,
+    An' wid slippers on my feet;
+    I'se my mammy's darlin'.
+    Don't you think I'se sweet?
+
+    I wish I had a fourpence,
+    Den I mought use a dime.
+    I wish I had a Sweetheart,
+    To kiss me all de time.
+
+    I has apples on de table,
+    An' I has peaches on de shelf;
+    But I wish I had a husband--
+    I'se so tired stayin' to myself.
+
+
+STEALING A RIDE
+
+    Two liddle Nigger boys as black as tar,
+    Tryin' to go to Heaben on a railroad chyar.
+    Off fall Nigger boys on a cross-tie!
+    Dey's gwineter git to Heaben shore bye-an'-bye.
+
+
+WASHING MAMMA'S DISHES
+
+    When I wus a liddle boy
+    A-washin' my mammy's dishes,
+    I rund my finger down my th'oat
+    An' pulled out two big fishes!
+
+    When I wus a liddle boy
+    A-wipin' my mammy's dishes,
+    I sticked my finger in my eye
+    An' I sh[=o]' seed liddle fishes.
+
+    De big fish swallowed dem all up!
+    It put me jes a-thinkin'.
+    All dem things looks awful cu'ous!
+    I wonder wus I drinkin'?
+
+
+WILLIE WEE
+
+    Willie, Willie, Willie Wee!
+    One, two, three.
+    If you wanna kiss a pretty gal,
+    Come kiss me.
+
+
+ONE NEGRO THEME SUNG WITH "FROG WENT A-COURTING"
+
+[music]
+
+
+FROG WENT A-COURTING
+
+    De frog went a-co'tin', he did ride. Uh-huh! Uh-huh!
+    De frog went a-co'tin', he did ride
+    Wid a sword an' a pistol by 'is side. Uh-huh! Uh-huh!
+
+    He rid up to Miss Mousie's d[=o]'. Uh-huh! Uh-huh!
+    He rid up to Miss Mousie's d[=o]',
+    Whar he'd of'en been bef[=o]. Uh-huh! Uh-huh!
+
+    Says he: "Miss Mousie, is you in?" Uh-huh! Uh-huh!
+    Says he: "Miss Mousie, is you in?"
+    "Oh yes, Sugar Lump! I kyard an' spin." Uh-huh! Uh-huh!
+
+    He tuck dat Mousie on his knee. Uh-huh! Uh-huh!
+    He tuck dat Mousie on his knee,
+    An' he say: "Dear Honey, marry me!" Uh-huh! Uh-huh!
+
+    "Oh Suh!" she say, "I cain't do dat." Uh-huh! Uh-huh!
+    "Oh Suh!" she say, "I cain't do dat,
+    Widout de sayso o' uncle Rat." Uh-huh! Uh-huh!
+
+    Dat ole gray Rat, he soon come home. Uh-huh! Uh-huh!
+    Dat ole gray Rat, he soon come home,
+    Sayin': "Whose been here since I'se been gone?" Uh-huh! Uh-huh!
+
+    "A fine young gemmun fer to see." Uh-huh! Uh-huh!
+    "A fine young gemmun fer to see,
+    An' one dat axed fer to marry me." Uh-huh! Uh-huh!
+
+    Dat Rat jes laugh to split his side. Uh-huh! Uh-huh!
+    Dat Rat jes laugh to split his side.
+    "Jes think o' Mousie's bein' a bride!" Uh-huh! Uh-huh!
+
+    Nex' day, dat rat went down to town. Uh-huh! Uh-huh!
+    Nex' day dat rat went down to town,
+    To git up de Mousie's Weddin' gown. Uh-huh! Uh-huh!
+
+    "What's de bes' thing fer de Weddin' gown?" Uh-huh! Uh-huh!
+    "What's de bes' thing fer de Weddin' gown?"--
+    "Dat acorn hull, all gray an' brown!" Uh-huh! Uh-huh!
+
+    "Whar shall de Weddin' Infar' be?" Uh-huh! Uh-huh!
+    "Whar shall de Weddin' Infar' be?"--
+    "Down in de swamp in a holler tree." Uh-huh! Uh-huh!
+
+    "What shall de Weddin' Infar' be?" Uh-huh! Uh-huh!
+    "What shall de Weddin' Infar' be?"--
+    "Two brown beans an' a blackeyed pea." Uh-huh! Uh-huh!
+
+    Fust to come in wus de Bumblebee. Uh-huh! Uh-huh!
+    Fust to come in wus de Bumblebee.
+    Wid a fiddle an' bow across his knee. Uh-huh! Uh-huh!
+
+    De nex' dat come wus Khyernel Wren. Uh-huh! Uh-huh!
+    De nex' dat come wus Khyernel Wren,
+    An' he dance a reel wid de Turkey Hen. Uh-huh! Uh-huh!
+
+    De nex' dat come wus Mistah Snake. Uh-huh! Uh-huh!
+    De nex' dat come wus Mistah Snake,
+    He swallowed de whole weddin' cake! Uh-huh! Uh-huh!
+
+    De nex' come in wus Cap'n Flea. Uh-huh! Uh-huh!
+    De nex' come in wus Cap'n Flea,
+    An' he dance a jig fer de Bumblebee. Uh-huh! Uh-huh!
+
+    An' now come in ole Giner'l Louse. Uh-huh! Uh-huh!
+    An' now come in ole Giner'l Louse.
+    He dance a breakdown 'round de house. Uh-huh! Uh-huh!
+
+    De nex' to come wus Major Tick. Uh-huh! Uh-huh!
+    De nex' to come wus Major Tick,
+    An' he e't so much it make 'im sick. Uh-huh! Uh-huh!
+
+    Dey sent fer Mistah Doctah Fly. Uh-huh! Uh-huh!
+    Dey sent fer Mistah Doctah Fly.
+    Says he: "Major Tick, you's boun' to die." Uh-huh! Uh-huh!
+
+    Oh, den crep' in ole Mistah Cat. Uh-huh! Uh-huh!
+    Oh, den crep' in ole Mistah Cat,
+    An' chilluns, dey all hollered, "Scat!!" Uh-huh!!! Uh-huh!!!
+
+    It give dat frog a turble fright. Uh-huh! Uh-huh!
+    It give dat frog a turble fright,
+    An' he up an' say to dem, "Good-night!" Uh-huh! Uh-huh!
+
+    Dat frog, he swum de lake aroun'. Uh-huh! Uh-huh!
+    Dat frog, he swum de lake aroun',
+    An' a big black duck come gobble 'im down. Uh-huh! Uh-huh!
+
+    "What d'you say 'us Miss Mousie's lot?" Uh-huh! Uh-huh!
+    "What d'you say 'us Miss Mousie's lot?"--
+    "W'y--, she got swallered on de spot!" Uh-huh! Uh-huh!
+
+    Now, I don't know no m[=o]' 'an dat. Uh-huh! Uh-huh!
+    Now, I don't know no m[=o]' 'an dat.
+    If you gits m[=o]' you can take my hat. Uh-huh! Uh-huh!
+
+    An' if you thinks dat hat won't do. Uh-huh! Uh-huh!
+    An' if you thinks dat hat won't do,
+    Den you mought take my head 'long, too. Uh-huh!!! Uh-huh!!!
+
+
+SHOO! SHOO!
+
+    Shoo! Shoo!
+    What'll I do?
+    Run three mile an' buckle my shoe?
+
+    No! No!
+    I'se gwineter go,
+    An' kill dat chicken on my fl[=o]'.
+
+    Oh! My!
+    Chicken pie!
+    Sen' fer de Doctah, I mought die.
+
+    Christmus here,
+    Once a year.
+    Pass dat cider an' 'simmon beer.
+
+
+FLAP-JACKS
+
+    I loves my wife, an' I loves my baby:
+    An' I loves dem flap-jacks a-floatin' in gravy.
+    You play dem chyards, an' make two passes:
+    While I eats dem flap-jacks a-floatin' in 'lasses.
+
+    Now: in come a Nigger an' in come a bear,
+    In come a Nigger dat hain't got no hair.
+    Good-by, Nigger, go right on back,
+    Fer I hain't gwineter give you no flap-jack.
+
+
+TEACHING TABLE MANNERS
+
+    Now whilst we's here 'round de table,
+    All you young ones git right still.
+    I wants to l'arn you some good manners,
+    So's you'll think o' Uncle Bill.
+
+    Cose we's gwineter 'scuse Merlindy,
+    Caze she's jes a baby yit.
+    But it's time you udder young ones
+    Wus a-l'arnin' a liddle bit.
+
+    I can 'member as a youngster,
+    Lak you youngsters is to-day;
+    How my mammy l'arnt me manners
+    In a 'culiar kind o' way.
+
+    One o' mammy's ole time 'quaintance.
+    (Ole Aunt Donie wus her name)
+    Come one night to see my mammy.
+    Mammy co'se 'pared fer de same.
+
+    Mammy got de sifter, Honey;
+    An' she tuck an' make up dough,
+    Which she tu'n into hot biscuits.
+    Den we all git smart, you know.
+
+    'Zerves an' biscuits on de table!
+    Honey, noways could I wait.
+    Ole Aunt Donie wus a good ole 'oman,
+    An' I jes had to pass my plate.
+
+    I soon swallered down dem biscuit,
+    E't 'em faster dan a shoat.
+    Dey wus a liddle tough an' knotty,
+    But I chawed 'em lak a goat.
+
+    "Pass de biscuits, please, Mam!
+    Please, Mam, fer I wants some m[=o]'."
+    Lawd! You'd oughter seed my mammy
+    Frownin' up, jes "sorter so."
+
+    "Won't you pass de biscuit, please, Mam?"
+    I said wid a liddle fear.
+    Dere wus not but one m[=o]' lef', Sir.
+    Mammy riz up out'n her chear.
+
+    W'en Aunt Donie lef' our house, Suh,
+    Mammy come lak bees an' ants,
+    Put my head down 'twixt her knees, Suh,
+    Almos' roll me out'n my pants.
+
+    She had a great big tough hick'ry,
+    An' it help till it convince.
+    Frum dat day clean down to dis one,
+    I'se had manners ev'r since.
+
+
+MISS BLODGER
+
+    De rats an' de mice, dey rund up stairs,
+    Fer to hear Miss Blodger say her prayers.
+    Now here I stan's 'fore Miss Blodger.
+    She 'spects to hit me, but I'se gwineter dodge her.
+
+
+THE LITTLE NEGRO FLY
+
+    Dere's a liddle Nigger fly
+    Got a pretty liddle eye;
+    But he don't know 'is A, B, C's.
+    He up an' crawl de book,
+    An' he eben 'pears to look;
+    But he don't know 'is A, B, C's.
+
+
+DESTINIES OF GOOD AND BAD CHILDREN
+
+    One, two, three, f[=o]', five, six, seben;
+    All de good chilluns goes to Heaben.
+    All de bad chilluns goes below,
+    To [44]segashuate wid ole man [45]Joe.
+
+    One, two, three, f[=o]', five, six, seben, eight;
+    All de good chilluns goes in de Pearly Gate.
+    But all de bad chilluns goes the Broad Road below,
+    To segashuate wid ole man Joe.
+
+[44] Segashuate means associate with.
+
+[45] Read first stanza of "Sheep Shell Corn," to know of ole man Joe.
+
+
+BLACK-EYED PEAS FOR LUCK
+
+    One time I went a-huntin',
+    I heared dat 'possum sneeze.
+    I hollered back to Susan Ann:
+    "Put on a pot o' peas."
+
+    Dat good ole 'lasses candy,
+    What makes de eyeballs shine,
+    Wid 'possum peas an' taters,
+    Is my dish all de time.
+
+    [46]Dem black-eyed peas is lucky;
+    When e't on New Year's day,
+    You always has sweet taters,
+    An' 'possum come your way.
+
+[46] This last stanza embodies one of the old superstitions.
+
+
+PERIWINKLE[47]
+
+    Pennywinkle, pennywinkle, poke out y[=o]' ho'n;
+    An' I'll give you five dollahs an' a bar'l o' co'n.
+    Pennywinkle! Pennywinkle! Dat gal love me?
+    Jes stick out y[=o]' ho'n all pinted to a tree.
+
+[47] The Periwinkle seems to have been used as an oracle by some Negroes
+in the days of their enslavement.
+
+
+TRAINING THE BOY
+
+    W'en I wus a liddle boy,
+    Jes thirteen inches high,
+    I useter climb de table legs,
+    An' steal off cake an' pie.
+
+    Altho' I wus a liddle boy,
+    An' tho' I wusn't high,
+    My mammy took dat keen switch down,
+    An' whupped me till I cry.
+
+    Now I is a great big boy,
+    An' Mammy, she cain't do it;
+    My daddy gits a great big stick,
+    An' pulls me right down to it.
+
+    Dey say: "No breakin' dishes now;
+    No stealin' an' no lies."
+    An' since I is a great big boy,
+    Dey 'spects me to act wise.
+
+
+BAT! BAT![48]
+
+    Bat! Bat! Come un'er my hat,
+    An' I'll give you a slish o' bacon.
+    But don't bring none y[=o]' ole bedbugs,
+    If you don't want to git fersaken.
+
+[48] A superstition that it is good luck to catch a bat in one's hat if
+he doesn't get bedbugs by so doing.
+
+
+RANDSOME TANTSOME
+
+    Randsome Tantsome!--Gwine to de Fair?
+    Randsome Tantsome!--W'at you gwineter wear?
+    "Dem shoes an' stockin's I'se bound to wear!"
+    Randsome Tantsome a-gwine to de Fair.
+
+
+ARE YOU CAREFUL?
+
+    Is you keerful; w'en you goes down de street,
+    To see dat y[=o]' cloze looks nice an' neat?
+    Does you watch y[=o]' liddle step 'long de way,
+    An' think 'bout dem words dat you say?
+
+
+RABBIT HASH
+
+    Dere wus a big ole rabbit
+    Dat had a mighty habit
+    A-settin' in my gyardin,
+    An' eatin' all my cabbitch.
+    I hit 'im wid a mallet,
+    I tapped 'im wid a maul.
+    Sich anudder rabbit hash,
+    You's never tasted 'tall.
+
+
+WHY THE WOODPECKER'S HEAD IS RED
+
+    Bill Dillix say to dat woodpecker bird:
+    "W'at makes y[=o]' topknot red?"
+    Says he: "I'se picked in de red-hot sun,
+    Till it's done burnt my head."
+
+
+BLESSINGS
+
+The chivalry of the Old South rather demanded that all friends should be
+invited to partake of the meal, if they chanced to come calling about
+the time of the meal hour. This ideal also pervaded the lowly slave
+Negro's cabin. In order that this hospitality might not be abused, the
+Negroes had a little deterrent story which they told their children.
+Below are the fancied Blessings asked by the fictitious Negro family, in
+the story, whose hospitality had been abused.
+
+
+BLESSING WITH COMPANY PRESENT
+
+    Oh Lawd now bless an' b[=i]n' us,
+    An' put ole Satan 'h[=i]n' us.
+    Oh let y[=o]' Sperit m[=i]n' us.
+    Don't let none hongry f[=i]n' us.
+
+
+BLESSING WITHOUT COMPANY
+
+    Oh Lawd have mussy now upon us,
+    An' keep 'way some our neighbors from us.
+    For w'en dey all comes down upon us,
+    Dey eats m[=o]s' all our victuals from us.
+
+
+ANIMAL PERSECUTORS
+
+    I went up on de mountain,
+    To git a bag o' co'n.
+    Dat coon, he sicked 'is dog on me,
+    Dat 'possum blowed 'is ho'n.
+
+    Dat gobbler up an' laugh at me.
+    Dat pattridge giggled out.
+    Dat peacock squall to bust 'is sides,
+    To see me runnin' 'bout.
+
+
+FOUR RUNAWAY NEGROES--WHENCE THEY CAME
+
+    Once f[=o]' runaway Niggers,
+    Dey met in de road.
+    An' dey ax one nudder:
+    Whar dey come from.
+    Den one up an' say:
+      "I'se jes come down from Chapel Hill
+      Whar de Niggers hain't wuked an' never will."
+
+    Den anudder up an' say:
+      "I'se jes come here from Guinea Gall
+      Whar dey eats de cow up, skin an' all."
+
+    Den de nex' Nigger say
+    Whar he done come from:
+      "Dey wuked you night an' day as dey could;
+      Dey never had stopped an' dey never would."
+
+    De las' Nigger say
+    Whar he come from:
+      "De Niggers all went out to de Ball;
+      De thick, de thin, de short, de tall."
+
+    But dey'd all please set up,
+    Jes lak ole Br'er Rabbit
+    W'en he look fer a dog.
+    An' keep it in mind,
+    Whilst dey boasts 'bout deir gals
+    An' dem t'other things:
+      "Dat none deir gals wus lak Sallie Jane,
+      Fer dat gal wus sweeter dan sugar cane."
+
+
+
+
+WISE SAYING SECTION
+
+
+LEARN TO COUNT
+
+    Naught's a naught,
+    Five's a figger.
+    All fer de white man,
+    None fer de Nigger.
+
+    Ten's a ten,
+    But it's mighty funny;
+    When you cain't count good,
+    You hain't got no money.
+
+
+THE WAR IS ON
+
+    De boll-weevil's in de cotton,
+    De cut-worm's in de corn,
+    De Devil's in de white man;
+    An' de wah's a-gwine on.
+    Poor Nigger hain't got no home!
+    Poor Nigger hain't got no home!
+
+
+HOW TO PLANT AND CULTIVATE SEEDS
+
+    Plant: One fer de blackbird
+      Two fer de crow,
+      Three fer de jaybird
+      An' f[=o]' fer to grow.
+
+    Den: When you goes to wuk,
+      Don't never stand still;
+      When you pull de grass,
+      Pull it out'n de hill.
+
+
+A MAN OF WORDS
+
+    A man o' words an' not o' deeds,
+    Is lak a gyarden full o' weeds.
+      De weeds 'gin to grow
+      Lak a gyarden full o' snow.
+      De snow 'gin to fly
+      Lak a eagle in de sky.
+      De sky 'gin to roar
+      Lak a hammer on y[=o]' door.
+      De door 'gin to crack
+      Lak a hick'ry on y[=o]' back.
+      Y[=o]' back 'gin to smart
+      Lak a knife in y[=o]' heart.
+      Y[=o]' heart 'gin to fail
+      Lak a boat widout a sail.
+      De boat 'gin to sink
+      Lak a bottle full o' ink.
+      Dat ink, it won't write
+      Neider black nor white.
+    Dat man o' words an' not o' deeds,
+    Is lak a gyarden full o' weeds.
+
+
+INDEPENDENT
+
+    I'se jes as innerpenunt as a pig on ice.
+    Gwineter git up ag'in if I slips down twice.
+    If I cain't git up, I can jes lie down.
+    I don't want no Niggers to be he'pin' me 'roun'.
+
+
+TEMPERANCE RHYME
+
+    Whisky nor brandy hain't no friend to my kind.
+    Dey killed my p[=o]' daddy, an' dey troubled my mind.
+    Sometime he drunk whisky, sometime he drunk ale;
+    Sometime he kotch de rawhide, an' sometime de flail.
+
+    On yon'er high mountain, I'll set up dar high;
+    An' de wild geese can cheer me while passin' on by.
+    Go 'way, young ladies, an' let me alone;
+    For you know I'se a poor boy, an' a long ways from home.
+
+    Go put up de hosses an' give 'em some hay;
+    But don't give me no whisky, so long as I stay.
+    For whisky nor brandy hain't friend to my kind;
+    Dey killed my p[=o]' daddy, an' dey troubled my mind.
+
+
+THAT HYPOCRITE
+
+    I tell you how dat hypocrite do,
+    He come down to my house, an' talk about you;
+    He talk about me, an' he talk about you;
+    An' dat's de way dat hypocrite do.
+
+    I tell you how dat hypocrite pray.
+    He pray out loud in de hypocrite way.
+    He pray out loud, got a heap to say;
+    An' dat's de way dat hypocrite pray.
+
+    I tell you how dat hypocrite 'ten',
+    He 'ten' dat he love, an' he don't love men.
+    He 'ten' dat he love, an' he hate Br'er Ben;
+    An' dat's de way dat hypocrite 'ten'.
+
+
+DRINKING RAZOR SOUP
+
+    He's been drinkin' razzer soup;
+    Dat sharp Nigger, black lak ink.
+    If he don't watch dat tongue o' his,
+    Somebody'll hurt 'im 'f[=o]r' he think.
+
+    He cain't drive de pigeons t' roost,
+    Dough he talk so big an' smart.
+    Hain't got de sense to tole 'em in.
+    Cain't more 'an drive dat ole mule chyart.
+
+
+OLD MAN KNOW-ALL
+
+    Ole man Know-All, he come 'round
+    Wid his nose in de air, turned 'way frum de ground.
+    His ole woolly head hain't been combed fer a week;
+    It say: "Keep still, while Know-All speak."
+
+    Ole man Know-All's tongue, it run;
+    He jes know'd ev'rything under de sun.
+    When you knowed one thing, he knowed m[=o]'.
+    He 'us sharp 'nough to stick an' green 'nough to grow.
+
+    Ole man Know-All died las' week.
+    He got drowned in de middle o' de creek.
+    De bridge wus dar, an' dar to stay.
+    But he knowed too much to go dat way.
+
+
+FED FROM THE TREE OF KNOWLEDGE
+
+    I nebber starts to break my colt,
+    Till he's ole enough to trabble.
+    I nebber digs my taters up
+    Wen dey's only right to grabble.
+    So w'en you sees me risin' up
+    To structify in meetin',
+    You can know I'se climbed de Knowledge Tree
+    An' done some apple eatin'.
+
+
+THE TONGUE
+
+    Got a tongue dat jes run when it walk?
+    It cain't talk.
+    Got a tongue dat can hush when it talk?--
+    It cain't squawk.
+
+
+BRAG AND BOAST
+
+    Brag is a big dog;
+    But Hold Fast, he is better.
+    Dem big black rough hands,
+    Dey cain't write no letter.
+
+    Boast, he barks an' growls loud;
+    But Bulger, he hain't no shirker.
+    Dat big loud mouf Nigger,
+    He hain't never no worker.
+
+
+SELF-CONTROL
+
+    Befo' you says dat ugly word,
+    You stop an' count ten.
+    Den if you wants to say dat word,
+    Begin an' count again.
+
+    Don't have a tongue tied in de middle,
+    An' loose frum en' to en'.
+    You mus' think twice, den speak once;
+    Dat [49]donkey cain't count ten.
+
+[49] The somewhat less dignified term was more commonly used.
+
+
+SPEAK SOFTLY
+
+    "Wus dat you spoke,
+    Or a fence rail broke?"
+    Br'er Rabbit say to de Jay
+    [50]W'en you don't speak sof',
+    Y[=o]' baits comes off;
+    An' de fish jes swim away.
+
+[50] The last three lines of the rhyme was a superstition current among
+antebellum Negroes.
+
+
+STILL WATER RUNS DEEP
+
+    Dat still water, it run deep.
+    Dat shaller water prattle.
+    Dat tongue, hung in a holler head,
+    Jes roll 'round an' rattle.
+
+
+DON'T TELL ALL YOU KNOW
+
+    Keep dis in min', an' all 'll go right;
+    As on y[=o]' way you goes;
+    Be shore you knows 'bout all you tells,
+    But don't tell all you knows.
+
+
+JACK AND DINAH WANT FREEDOM[51]
+
+    Ole Aunt Dinah, she's jes lak me.
+    She wuk so hard dat she want to be free.
+    But, you know, Aunt Dinah's gittin' sorter ole;
+    An' she's feared to go to Canada, caze it's so c[=o]l'.
+
+    Dar wus ole Uncle Jack, he want to git free.
+    He find de way Norf by de moss on de tree.
+    He cross dat [52]river a-floatin' in a tub.
+    Dem [53]Patterollers give 'im a mighty close rub.
+
+    Dar is ole Uncle Billy, he's a mighty good Nigger.
+    He tote all de news to Mosser a little bigger.
+    When you tells Uncle Billy, you wants free fer a fac';
+    De nex' day de hide drap off'n y[=o]' back.
+
+[51] The writer wishes to give explanation as to why the rhyme "Jack and
+Dinah Want Freedom" appears under the Section of Psycho-composite Rhymes
+as set forth in "The Study----" of our volume. The Negroes repeating
+this rhyme did not always give the names Jack, Dinah, and Billy, as we
+here record them, but at their pleasure put in the individual name of
+the Negro in their surroundings whom the stanza being repeated might
+represent. Thus this little rhyme was the scientific dividing, on the
+part of the Negroes themselves, of the members of their race into three
+general classes with respect to the matter of Freedom.
+
+[52] The Ohio River.
+
+[53] White guards who caught and kept slaves at the master's home.
+
+
+
+
+FOREIGN SECTION
+
+
+AFRICAN RHYMES
+
+The rhymes "Tuba Blay," "Near Waldo Tee-do O mah nah mejai," "Sai
+Boddeoh Sumpun Komo," and "Byanswahn-Byanswahn" were kindly contributed
+by Mr. John H. Zeigler, Monrovia, Liberia, and Mr. C. T. Wardoh of the
+Bassa Tribe, Liberia. They are natives and are now in America for
+collegiate study and training.
+
+
+NEAR-WALDO-TEE-DO O MAH NAH MEJAI
+
+OR
+
+NEAR-WALDO-TEE-DO IS MY SWEETHEART
+
+    1.  A yehn me doddoc Near Waldo Tee-do.
+        Yehn me doddoc o-o seoh-o-o.
+        Omah nahn mejai Near Waldo Tee-do.
+        Omah nahn mejai Near Waldo Tee-do.
+
+    _Translation_
+
+        Near Waldo Tee-do gave me a suit.
+        He gave me a suit.
+        Near Waldo Tee-do is my sweetheart.
+        Near Waldo Tee-do is my sweetheart.
+
+
+TUBA BLAY
+
+OR
+
+AN EVENING SONG
+
+    1.  Seah O, Tuba blay.
+        Tuba blay, Tuba blay.
+
+    2.  O blay wulna nahn blay.
+        Tuba blay, Tuba blay.
+
+    _Translation_
+
+    1.  Oh please Tuba sing.
+        Tuba sing, Tuba sing.
+
+    2.  Oh sing that song.
+        Tuba sing, Tuba sing.
+
+
+THE OWL
+
+We are indebted for this Baluba rhyme to Dr. and Mrs. William H.
+Sheppard, pioneer missionaries under the Southern Presbyterian Church.
+The little production comes from Congo, Africa.
+
+    Sala wa m[)e]n t[)e]nge, Cimpungelu.
+    Sala wa m[)e]n t[)e]nge, Cimpungelu.
+    Meme taya wewe, Cimpungelu.
+    Sala wa m[)e]n t[)e]nge, Cimpungelu.
+
+    _Translation_
+
+    The dancing owl waves his spread tail feathers.
+          I'm the owl.
+    The dancing owl waves his spread tail feathers.
+          I'm the owl.
+    I now tell you by my dancing, I'm the owl.
+    The dancing owl waves his spread tail feathers.
+          I'm the owl.
+
+
+SAI BODDEOH SUMPUN KOMO
+
+OR
+
+I AM NOT GOING TO MARRY SUMPUN
+
+    1.  Sai Sumpun komo.
+        De Sumpun nenah?
+        Sumpun se jello jeppo
+        Boddeoh Sumpun.
+
+    2.  Sai Sumpun komo.
+        De Sumpun nenah?
+        Sumpun auch nahn jehn deddoc.
+        Boddeoh Sumpun.
+
+    _Translation_
+
+    1.  I am not going to marry Sumpun.
+        What has Sumpun done?
+        Sumpun doesn't live a seafaring life
+        Boddeoh Sumpun.
+
+    2.  I am not going to marry Sumpun.
+        What has Sumpun done?
+        Sumpun does not support me.
+        Boddeoh Sumpun.
+
+
+BYANSWAHN-BYANSWAHN
+
+OR
+
+A BOAT SONG
+
+    [=O]-[=O] Byanswahn blay Tanner tee-o-o.
+    O Byanswahn jekah jubha.
+    De jo Byanswahn se kah jujah dai.
+    [=O] Byanswahn blay dai Tanner tee-o-o.
+
+    _Translation_
+
+    Oh boat, come back to me.
+    Since you carried my child away,
+    I have not seen that child.
+    Oh boat come back to me.
+
+
+THE TURKEY BUZZARD
+
+Dr. C. C. Fuller: a missionary at Chikore Melsetter, Rhodesia, Africa,
+was good enough to secure for the compiler this rhyme, written in
+Chindau, from the Rev. John E. Hatch, also a missionary in South Africa.
+
+    Riti, riti, mwana wa rashika.
+    Ndizo, ndizo kurgya ku wande.
+    Riti, riti, mwana wa oneka.
+    Ndizo, ndizo ti wande issu.
+
+    _Translation_
+
+    Turkey buzzard, turkey buzzard, your child is lost.
+    That is all right, the food will be more plentiful.
+    Turkey buzzard, turkey buzzard, your child is found.
+    That is all right, we will increase in number.
+
+
+THE FROGS
+
+The following child's play rhyme in Baluba with its translation was
+contributed by Mrs. L. G. Sheppard, who was for many years a missionary
+in Congo, Africa.
+
+    Cula, Cula, Kuya kudi Kunyi?
+    Tuyiya ku cisila wa Baluba.
+    Tun kuata tua kuesa cinyi?
+    Tua kudimuka kua musode.
+
+    _Translation_
+
+    Frogs, frogs, where are you going?
+    We are going to the market of the Baluba.
+    If they catch you, what will they do?
+    They will turn us all into lizards.
+
+
+JAMAICA RHYME
+
+
+BUSCHER GARDEN
+
+This Negro rhyme from rural Jamaica was contributed by Dr. Cecil B.
+Roddock, a native of that country. The word _Buscher_ means an overseer
+or master of a plantation.
+
+    All a night, me da watch a brother Wayrum;
+    Wayrum ina me Buscher garden.
+    Oh, Brother Wayrum! Wha' a you da do,
+    To make a me Buscher a catch a you?
+    Oh a me Buscher, in a me Buscher garden;
+    Me a beg a me Buscher a pardon!
+
+
+VENEZUELAN NEGRO RHYMES
+
+These Venezuelan rhymes: "A 'Would be' Immigrant" and "Game Contestant's
+Song," came to us through the kindness of Mr. J. C. Williams, Caracas,
+Venezuela, S. A. He is a native of Venezuela.
+
+
+GAME CONTESTANT'S SONG
+
+    We're going to dig!
+    We're going to dig a sepulcher to bury those regiments.
+    White Rose Union!
+    Get yourself in readiness to bury those regiments.
+    Oh Grentville! [54]Cici! Cici!
+    Beat them forever.
+
+    Sa your de vrai!
+    We'll send them a challenge,
+    To mardi carnival.
+    Sa your de vrai!!
+
+[54] Cici = a kind of game.
+
+
+A "WOULD BE" IMMIGRANT
+
+    Conjo Celestine! Oh
+    He was going to Panama.
+    Reavay Trinidad!
+    Celestine Revay, la Grenada!
+    What d'you think bring Celestine back?
+    What d'you think bring Celestine back?
+    What d'you think bring Celestine to me?
+    Twenty cents for a cup of tea.
+
+
+TRINIDAD NEGRO RHYMES
+
+We are very grateful to Mr. L. A. Brown for his kindness in giving to us
+the two Venezuelan rhymes which follow. His home is in Princess Town,
+Trinidad, B. W. I.
+
+
+UN BELLE MARIE COOLIE
+
+OR
+
+BEAUTIFUL MARIE, THE EAST INDIAN
+
+    Un belle Marie Coolie!
+    Un belle Marie Coolie!
+    Un belle Marie Coolie!
+    Vous belle dame, vous belle pour moi.
+    Papa est un African.
+    Mamma est un belle Coolie.
+    Un belle Marie Coolie!
+    Vous belle dame, vous belle pour moi.
+
+    _Translation_
+
+    Beautiful Marie, the East Indian!
+    Beautiful Marie, the East Indian!
+    Beautiful Marie, the East Indian!
+    You beautiful woman, you're good enough for me.
+    Papa is an African.
+    Mamma is a beautiful East Indian.
+    Beautiful Marie, the East Indian!
+    You beautiful woman, you're good enough for me.
+
+
+A TOM CAT
+
+    My father had a big Tom cat,
+    That tried to play a fiddle.
+    He struck it here, and he struck it there,
+    And he struck it in the middle.
+
+
+PHILIPPINE ISLAND RHYME
+
+The following rhyme came to me through the kindness of Mr. C. W. Ransom,
+Grand Chain, Ill., U.S.A. Mr. Ransom served three years with the United
+States Army in the Philippine Islands.
+
+    See that Monkey up the cocoanut tree,
+    A-jumpin' an' a-throwin' nuts at me?
+    El hombre no savoy,
+    No like such play.
+    All same to Americano,
+    No hay dique.
+
+
+
+
+Part II
+
+A STUDY IN NEGRO FOLK RHYMES
+
+
+The lore of the American Negro is rich in story, in song, and in Folk
+rhymes. These stories and songs have been partially recorded, but so far
+as I know there is no collection of the American Negro Folk Rhymes. The
+collection in Part I is a compilation of American Negro Folk Rhymes, and
+this study primarily concerns them; but it was necessary to have a
+Foreign Section of Rhymes in order to make our study complete. I have
+therefore inserted a little Foreign Section of African, Venezuelan,
+Jamaican, Trinidad, and Philippine Negro Rhymes; and along with them
+have placed the names of the contributors to whom we are under great
+obligations, as well as to the many others who have given valuable
+assistance and suggestions in the matter of the American Negro Rhymes
+recorded.
+
+When critically measured by the laws and usages governing the best
+English poetry, Negro Folk Rhymes will probably remind readers of the
+story of the good brother, who arose solemnly in a Christian praise
+meeting, and thanked God that he had broken all the Commandments, but
+had kept his religion.
+
+Though decent rhyme is often wanting, and in the case of the "Song to
+the Runaway Slave," there is no rhyme at all, the rhythm is found almost
+perfect in all of them.
+
+A few of the Rhymes bear the mark of a somewhat recent date in
+composition. The majority of them, however, were sung by Negro fathers
+and mothers in the dark days of American slavery to their children who
+listened with eyes as large as saucers and drank them down with mouths
+wide open. The little songs were similar in structure to the Jubilee
+Songs, also of Negro Folk origin.
+
+If one will but examine the recorded Jubilee songs, he will find that it
+is common for stanzas, which are apparently most distantly related in
+structure, to sing along in perfect rhythm in the same tune that
+carefully counts from measure to measure one, two; or one, two, three,
+four. Here is an example of two stanzas taken from the Jubilee song,
+"Wasn't That a Wide River?"
+
+    1. "Old Satan's just like a snake in the grass,
+        He's a-watching for to bite you as you pass.
+
+    2.  Shout! Shout! Satan's about.
+        Just shut your door, and keep him out."
+
+An examination of stanzas in various Jubilee songs will show in the same
+song large variations in poetic feet, etc., not only from stanza to
+stanza; but very often from line to line, and even from phrase to
+phrase. Notwithstanding all this variation, a well trained band of
+singers will render the songs with such perfect rhythm that one scarcely
+realizes that the structure of any one stanza differs materially from
+that of another.
+
+A stanza, as it appears in Negro Folk Rhymes, is of the same
+construction as that found in the Jubilee Songs. A perfect rhythm is
+there. If while reading them you miss it, read yet once again; you will
+find it in due season if you "faint not" too early.
+
+As a rule, Negro Folk verse is so written that it fits into measures of
+music written 4/4 or 2/4 time. You can therefore read Negro Folk Rhymes
+silently counting: one, two; or, one, two, three, four; and the stanzas
+fit directly into the imaginary music measures if you are reading in
+harmony with the intended rhythm. I know of only three Jubilee Songs
+whose stanzas are transcribed as exceptions. They are--
+
+(1) "I'm Going to Live with Jesus," 6/8 time, (2) "Gabriel's Trumpet's
+Going to Blow," 3/4 time, and (3) "Lord Make Me More Patient," 6/8
+time. It is interesting to note along with these that the "Song of the
+Great Owl," the "Negro Soldier's Civil War Chant," and "Destitute Former
+Slave Owners," are seemingly the only ones in our Folk Rhyme collection
+which would call for a 3/4 or 6/8 measure. Such a measure is rare in all
+literary Negro Folk productions.
+
+The Negro, then, repeated or sang his Folk Rhymes, and danced them to
+4/4 and 2/4 measures. Thus Negro Folk Rhymes, with very few exceptions,
+are poetry where a music measure is the unit of measurement for the
+words rather than the poetic foot. This is true whether the Rhyme is, or
+is not, sung. _Imaginary measures either of two or four beats, with a
+given number of words to a beat, a number that can be varied limitedly
+at will, seems to be the philosophy underlying all Negro slave rhyme
+construction._
+
+As has just been casually mentioned, the Negro Folk Rhyme was used for
+the dance. There are Negro Folk Rhyme Dance Songs and Negro Folk Dance
+Rhymes. An example of the former is found in "The Banjo Picking," and of
+the latter, "Juba," both found in this collection. The reader may wonder
+how a Rhyme simply repeated was used in the dance. The procedure was as
+follows: Usually one or two individuals "star" danced at time. The
+others of the crowd (which was usually large) formed a circle about this
+one or two who were to take their prominent turn at dancing. I use the
+terms "star" danced and "prominent turn" because in the latter part of
+our study we shall find that all those present engaged sometimes at
+intervals in the dance. But those forming the circle, for most of the
+time, repeated the Rhyme, clapping their hands together, and patting
+their feet in rhythmic time with the words of the Rhyme being repeated.
+It was the task of the dancers in the middle of the circle to execute
+some graceful dance in such a manner that their feet would beat a tattoo
+upon the ground answering to every word, and sometimes to every syllable
+of the Rhyme being repeated by those in the circle. There were many such
+Rhymes. "'Possum Up the Gum Stump," and "Jawbone" are good examples. The
+stanzas to these Rhymes were not usually limited to two or three, as is
+generally the case with those recorded in our collection. Each selection
+usually had many stanzas. Thus as there came variation in the words from
+stanza to stanza, the skill of the dancers was taxed to its utmost, in
+order to keep up the graceful dance and to beat a changed tattoo upon
+the ground corresponding to the changed words. If any find fault with
+the limited number of stanzas recorded in our treatise, I can in apology
+only sing the words of a certain little encore song each of whose two
+little stanzas ends with the words, "Please don't call us back, because
+we don't know any more."
+
+There is a variety of Dance Rhyme to which it is fitting to call
+attention. This variety is illustrated in our collection by "Jump Jim
+Crow," and "Juba." In such dances as these, the dancers were required to
+give such movements of body as would act the sentiment expressed by the
+words while keeping up the common requirements of beating these same
+words in a tattoo upon the ground with the feet and executing
+simultaneously a graceful dance.
+
+It is of interest also to note that the antebellum Negro while repeating
+his Rhymes which had no connection with the dance usually accompanied
+the repeating with the patting of his foot upon the ground. Among other
+things he was counting off the invisible measures and bars of his
+Rhymes, things largely unseen by the world but very real to him. Every
+one who has listened to a well sung Negro Jubilee Song knows that it is
+almost impossible to hear one sung and not pat the foot. I have seen the
+feet of the coldest blooded Caucasians pat right along while Jubilee
+melodies were being sung.
+
+All Negro Folk productions, including the Negro Folk Rhymes, seem to
+call for this patting of the foot. The explanation which follows is
+offered for consideration. The orchestras of the Native African were
+made up largely of crudely constructed drums of one sort or another.
+Their war songs and so forth were sung to the accompaniment of these
+drum orchestras. When the Negroes were transported to America, and began
+to sing songs and to chant words in another tongue, they still sang
+strains calling, through inheritance, for the accompaniment of their
+ancestral drum. The Negro's drum having fallen from him as he entered
+civilization, he unwittingly called into service his foot to take its
+place. This substitution finds a parallelism in the highly cultivated La
+France rose, which being without stamens and pistils must be propagated
+by cuttings or graftings instead of by seeds. The rose, purposeless,
+emits its sweet perfume to the breezes and thus it attracts insects for
+cross fertilization simply because its staminate and pistillate
+ancestors thus called the insect world for that purpose. The rattle of
+the crude drum of the Native African was loud by inheritance in the
+hearts of his early American descendants and its unseen ghost walks in
+the midst of all their poetry.
+
+Many Negro Folk Rhymes were used as banjo and fiddle (violin) songs. It
+ought to be borne in mind, however, that even these were quite often
+repeated without singing or playing. It was common in the early days of
+the public schools of the South to hear Negro children use them as
+declamations. The connection, however, of Negro Folk Rhymes with their
+secular music productions is well worthy of notice.
+
+I have often heard those who liked to think and discuss things musical,
+wonder why little or no music of a secular kind worth while seemed to be
+found among Negroes while their religious music, the Jubilee Songs, have
+challenged the admiration of the world. The songs of most native peoples
+seem to strike "high water mark" in the secular form. Probably numbers
+of us have heard the explanation: "You see, the Negro is deeply
+emotional; religion appealed to him as did nothing else. The Negro
+therefore spent his time singing and shouting praises to God, who alone
+could whisper in his heart and stir up these emotions." There is perhaps
+much truth in this explanation. It is also such a delicate and high
+compliment to the Negro race, that I hesitate to touch it. One of the
+very few gratifying things that has come to Negroes is the unreserved
+recognition of their highly religious character. There is a truth,
+however, about the relation between the Negro Folk Rhyme and the Negro's
+banjo and fiddle music which ought to be told even though some older,
+nicer viewpoints might be a little shifted.
+
+There were quite a few Rhymes sung where the banjo and fiddle formed
+what is termed in music a simple accompaniment. Examples of these are
+found in "Run, Nigger, Run," and "I'll Wear Me a Cotton Dress." In such
+cases the music consisted of simple short tunes unquestionably "born to
+die."
+
+There was another class of Rhymes like "Devilish Pigs," that were used
+with the banjo and fiddle in quite another way. It was the banjo and
+fiddle productions of this kind of Rhyme that made the "old time" Negro
+banjo picker and fiddler famous. It has caused quite a few, who heard
+them, to declare that, saint or sinner, it was impossible to keep your
+feet still while they played. The compositions were comparatively long.
+From one to four lines of a Negro Folk Rhyme were sung to the opening
+measures of the instrumental composition; then followed the larger and
+remaining part of the composition, instruments alone. In the Rhyme
+"Devilish Pigs" four lines were used at a time. Each time that the music
+theme of the composition was repeated, another set of Rhyme lines was
+repeated; and the variations in the music theme were played in each
+repeat which recalled the newly repeated words of the Rhyme. The ideal
+in composition from an instrumental viewpoint might quite well remind
+one of the ideal in piano compositions, which consists of a theme with
+variations. The first movement of Beethoven's Sonata, Opus 26,
+illustrates the music ideal in composition to which I refer.
+
+So far as I know no Caucasian instrumental music composer has ever
+ordered the performers under his direction to sing a few of the first
+measures of his composition while the string division of the orchestra
+played its opening chords. Only the ignorant Negro composer has done
+this. Some white composers have made little approaches to it. A fair
+sample of an approach is found in the Idylls of Edward McDowell, for
+piano, where every exquisite little tone picture is headed by some gem
+in verse, reading which the less musically gifted may gain a deeper
+insight into the philosophical tone discourse set forth in the notes and
+chords of the composition.
+
+The Negro Folk Rhyme, then, furnished the ideas about which the "old
+time" Negro banjo picker and fiddler clustered his best instrumental
+music thoughts. It is too bad that this music passed away unrecorded
+save by the hearts of men. Paul Laurence Dunbar depicts its telling
+effects upon the hearer in his poem "The Party":
+
+    "Cripple Joe, de ole rheumatic, danced dat flo' frum side to middle.
+    Throwed away his crutch an' hopped it, what's rheumatics 'gainst a
+                                                               fiddle?
+    Eldah Thompson got so tickled dat he lak to los' his grace,
+    Had to take bofe feet an' hold 'em, so's to keep 'em in deir place.
+    An' de Christuns an' de sinnahs got so mixed up on dat flo',
+    Dat I don't see how dey's pahted ef de trump had chonced to blow."
+
+Perhaps a new school of orchestral music might be built on the Negro
+idea that some of the performers sing a sentence or so here and there,
+both to assist the hearers to a clearer musical understanding and to
+heighten the general artistic finish. The old Negro performers generally
+sang lines of the Folk Rhymes at the opening but occasionally in the
+midst of their instrumental compositions. I do not recall any case where
+lines were sung to the closing measures of the compositions.
+
+It might seem odd to some that the grotesque Folk Rhyme should have
+given rise to comparatively long instrumental music compositions. I
+think the explanation is probably very simple. The African on his native
+heath had his crude ancestral drum as his leading musical instrument. He
+sang or shouted his war songs consisting of a few words, and of a few
+notes, then followed them up with the beating of his drum, perhaps for
+many minutes, or even for hours. In civilization, the banjo, fiddle,
+"quills," and "triangle" largely took the place of his drum. Thus the
+singing of opening strains and following them with the main body of the
+instrumental composition, is in keeping with the Negro's inherited law
+for instrumental compositions from his days of savagery. The rattling,
+distinct tones of the banjo, recalling unconsciously his inherited love
+for the rattle of the African ancestral drum, is probably the thing
+which caused that instrument to become a favorite among Negro slaves.
+
+I would next consider the relation of the Folk Rhymes to Negro child
+life. They were instilled into children as warnings. In the years
+closely following our Civil War, it was common for a young Negro child,
+about to engage in a doubtful venture, to hear his mother call out to
+him the Negro Rhyme recorded by Joel Chandler Harris, in the Negro
+story, "The End of Mr. Bear":
+
+    "Tree stan' high, but honey mighty sweet--
+    Watch dem bees wid stingers on der feet."
+
+These lines commonly served to recall the whole story, it being the
+Rabbit's song in that story, and the child stopped whatever he was
+doing. Other and better examples of such Rhymes are "Young Master and
+Old Master," "The Alabama Way," and "You Had Better Mind Master," found
+in our collection.
+
+The warnings were commonly such as would help the slave to escape more
+successfully the lash, and to live more comfortably under slave
+conditions. I would not for once intimate that I entertain the thought
+that the ignorant slave carefully and philosophically studied his
+surroundings, reasoned it to be a fine method to warn children through
+poetry, composed verse, and like a wise man proceeded to use it. Of
+course thinking preceded the making of the Rhyme, but a conscious system
+of making verses for the purpose did not exist. I have often watched
+with interest a chicken hen lead forth her brood of young for the first
+time. While the scratching and feeding are going on, all of a sudden the
+hen utters a loud shriek, and flaps her wings. The little chicks,
+although they have never seen a hawk, scurry hither and thither, and so
+prostrate their little brown and ashen bodies upon the ground as almost
+to conceal themselves. The Negro Folk Rhymes of warning must be looked
+upon a little in this same light. They are but the strains of terror
+given by the promptings of a mother instinct full enough of love to give
+up life itself for its defenseless own.
+
+Many Rhymes were used to convey to children the common sense truths of
+life, hidden beneath their comic, crudely cut coats. Good examples are
+"Old Man Know-All," "Learn to Count," and "Shake the Persimmons Down."
+All through the Rhymes will be found here and there many stanzas full of
+common uncommon sense, worthwhile for children.
+
+Many Negro Folk Rhymes repeated or sung to children on their parents'
+knees were enlarged and told to them as stories, when they became older.
+The Rhyme in our collection on "Judge Buzzard" is one of this kind. In
+the Negro version of the race between the hare and the tortoise
+("rabbit and terrapin"), the tortoise wins not through the hare's going
+to sleep, but through a gross deception of all concerned, including even
+the buzzard who acted as Judge. The Rhyme is a laugh on "Jedge Buzzard."
+It was commonly repeated to Negro children in olden days when they
+passed erroneous judgments. "Buckeyed rabbit! Whoopee!" in our volume
+belongs with the Negro story recorded by Joel Chandler Harris under the
+title, "How Mr. Rabbit Lost His Fine Bushy Tail," though for some reason
+Mr. Harris failed to weave it into the story as was the Negro custom.
+"The Turtle's Song," in our collection, is another, which belongs with
+the story, "Mr. Terrapin Shows His Strength"; a Negro story given to the
+world by the same author, though the Rhyme was not recorded by him. It
+might be of interest to know that the Negroes, when themselves telling
+the Folk stories, usually sang the Folk Rhyme portions to little
+"catchy" Negro tunes. I would not under any circumstances intimate that
+Mr. Harris carelessly left them out. He recorded many little stanzas in
+the midst of the stories. Examples are:
+
+    (a) "We'll stay at home when you're away
+        'Cause no gold won't pay toll."
+
+    (b) "Big bird catch, little bird sing.
+        Bug bee zoom, little bee sting.
+        Little man lead, and the big horse follow,
+        Can you tell what's good for a head in a hollow?"
+
+These and many others are fragmentarily recorded among Mr. Harris' Negro
+stories in "Nights With Uncle Remus."
+
+Folk Rhymes also formed in many cases the words of Negro Play Songs.
+"Susie Girl," and "Peep Squirrel," found in our collection, are good
+illustrations of the Rhymes used in this way. The words and the music of
+such Rhymes were usually of poor quality. When, however, they were sung
+by children with the proper accompanying body movements, they might
+quite well remind one of the "Folk Dances" used in the present best
+up-to-date Primary Schools. They were the little rays of sunshine in the
+dark dreary monotonous lives of black slave children.
+
+Possibly the thing which will impress the reader most in reading Negro
+Folk Rhymes is their good-natured drollery and sparkling nonsense. I
+believe this is very important. Many have recounted in our hearing, the
+descriptions of "backwoods" Negro picnics. I have witnessed some of
+them where the good-natured vender of lemonade and cakes cried out:
+
+    "Here's y[=o]' c[=o]l' ice lemonade,
+    It's made in de shade,
+    It's stirred wid a spade.
+    Come buy my c[=o]l' ice lemonade.
+    It's made in de shade
+    An' s[=o]l' in de sun.
+    Ef you hain't got no money,
+    You cain't git none.
+    One glass fer a nickel,
+    An' two fer a dime,
+    Ef you hain't got de chink,
+    You cain't git mine.
+    Come right dis way,
+    Fer it sh[=o]' will pay
+    To git candy fer de ladies
+    An' cakes fer de babies."
+
+"Did these venders sell?" Well, all agree that they did. The same
+principle applied, with much of the nonsense eliminated, will probably
+make of the Negro a great merchant, as caste gives way enough to allow
+him a common man's business chance. Of all the races of men, the Negro
+alone has demonstrated his ability to come into contact with the white
+man and neither move on nor be annihilated. I believe this is largely
+due to his power to muster wit and humor on all occasions, and even to
+laugh in the face of adversity. He refused during the days of slavery to
+take the advice of Job's wife, and to "Curse God and die." He repeated
+and sang his comic Folk Rhymes, danced, lived, and came out of the Night
+of Bondage comparatively strong.
+
+The compiler of the Rhymes was quite interested to find that as a rule
+the country-reared Negro had a larger acquaintance with Folk Rhymes than
+one brought up in the city. The human mind craves occasional recreation,
+entertainment, and amusement. In cities where there is an almost
+continuous passing along the crowded thoroughfares of much that
+contributes to these ends, the slave Negro needed only to keep his eyes
+open, his ears attentive, and laugh. He directed his life accordingly.
+But, in the country districts there was only the monotony of quiet woods
+and waving fields of cotton. The rural scenes, though beautiful in
+themselves, refuse to amuse or entertain those who will not hold
+communion with them. The country Negro longing for amusement communed in
+his crude way, and Nature gave him Folk Rhymes for entertainment. Among
+those found to be clearly of this kind may be mentioned "The Great Owl's
+Song," "Tails," "Redhead Woodpecker," "The Snail's Reply," "Bob-white's
+Song," "Chuck Will's Widow Song," and many others.
+
+The Folk Rhymes were not often repeated as such or as whole compositions
+by the "grown-ups" among Negroes apart from the Play and the Dance. If,
+however, you had had an argument with an antebellum Negro, had gotten
+the better of the argument, and he still felt confident that he was
+right, you probably would have heard him close his side of the debate
+with the words: "Well, 'Ole Man Know-All is Dead.'" This is only a short
+prosaic version of his rhyme "Old Man Know-All," found in our
+collection. Many of the characteristic sayings of "Uncle Remus" woven
+into story by Joel Chandler Harris had their origin in these Folk
+Rhymes. "Dem dat know too much sleep under de ash-hopper" (Uncle Remus)
+clearly intimates to all who know about the old-fashioned ash-hopper
+that such an individual lies. This saying is a part of another stanza of
+"Old Man Know-All," but I cannot recall it from my dim memory of the
+past, and others whom I have asked seem equally unable to do so, though
+they have once known it.
+
+As is the case with all things of Folk origin, there is usually more
+than one version of each Negro Folk Rhyme. In many cases the exercising
+of a choice between many versions was difficult. I can only express the
+hope that my choices have been wise.
+
+There are two American Negro Folk Rhymes in our collection: "Frog in a
+Mill" and "Tree Frogs," which are oddities in "language." They are
+rhymes of a rare type of Negro, which has long since disappeared. They
+were called "Ebo" Negroes and "Guinea" Negroes. The so-called "Ebo"
+Negro used the word "la" very largely for the word "the." This and some
+other things have caused me to think that the "Ebo" Negro was probably
+one who was first a slave among the French, Spanish, or Portuguese, and
+was afterwards sold to an English-speaking owner. Thus his language was
+a mixture of African, English, and one of these languages. The so-called
+"Guinea" Negro was simply one who had not been long from Africa; his
+language being a mixture of his African tongue and English. These rhymes
+are to the ordinary Negro rhymes what "Jutta Cord la" in "Nights with
+Uncle Remus," by Joel Chandler Harris, is to the ordinary Negro stories
+found there. They are probably representative, in language, of the most
+primitive Negro Folk productions.
+
+Some of the rhymes are very old indeed. If one will but read "Master Is
+Six Feet One Way," found in our collection, he will find in it a
+description of a slave owner attired in Colonial garb. It clearly
+belongs, as to date of composition, either to Colonial days, or to the
+very earliest years of the American Republic. When we consider it as a
+slave rhyme, it is far from crudest, notwithstanding the early period of
+its production.
+
+If one carefully studies our collection of rhymes, he will probably get
+a new and interesting picture of the Negro's mental attitude and
+reactions during the days of his enslavement. One of these mental
+reactions is calculated to give one a surprise. One would naturally
+expect the Negro under hard, trying, bitter slave conditions, to long to
+be white. There is a remarkable Negro Folk rhyme which shows that this
+was not the case. This rhyme is: "I'd Rather Be a Negro Than a Poor
+White Man." We must bear in mind that a Folk Rhyme from its very nature
+carries in it the crystallized thought of the masses. This rhyme, though
+a little acidic and though we have recorded the milder version, leaves
+the unquestioned conclusion that, though the Negro masses may have
+wished for the exalted station of the rich Southern white man and
+possibly would have willingly had a white color as a passport to
+position, there never was a time when the Negro masses desired to be
+white for the sake of being white. Of course there is the Negro rhyme,
+"I Wouldn't Marry a Black Girl," but along with it is another Negro
+rhyme, "I Wouldn't Marry a White or a Yellow Negro Girl." The two rhymes
+simply point out together a division of Negro opinion as to the ideal
+standard of beauty in personal complexion. One part of the Negroes
+thought white or yellow the more beautiful standard and the other part
+of the Negroes thought black the more beautiful standard.
+
+The body of the Rhymes, here and there, carries many facts between the
+lines, well worth knowing.
+
+This collection also will shed some light on how the Negro managed to go
+through so many generations "in slavery and still come out" with a
+bright, capable mind. There were no colleges or schools for them, but
+there were Folk Rhymes, stories, Jubilee songs, and Nature; they used
+these and kept mentally fit.
+
+I now approach the more difficult and probably the most important
+portion of my discussion in the Study of Negro Folk Rhymes. It is a
+discussion that I would have willingly omitted, had I not thought that
+some one owed it to the world. Seeing a debt, as I thought, and not
+seeing another to pay it, I have reluctantly undertaken to discharge
+the obligation.
+
+If I were so fortunate as to possess a large flower garden with many new
+and rare genera and species, and wished to acquaint my friends with
+them, I should first take these friends for a walk through the garden,
+that they might see the odd tints and hues, might inhale a little of the
+new fragrance, and might get some idea as to the prospects for the
+utilization of these new plants in the world. Then, taking these friends
+back to my study room, I should consider in a friendly manner along with
+them, the Families and the Species, and the varieties. Finally, I should
+endeavor to lay before them from whence these new and strange flowers
+came. I have endeavored to pursue this method in my discussion of the
+Negro Folk Rhymes. In the foregoing I have endeavored to take the
+friendly reader for a walk through this new and strange garden of
+Rhymes, and I now extend an invitation to him to come into the Study
+Room for a more critical view of them.
+
+When one enters upon the slightest contemplation of Negro Folk Rhyme
+classification, and is kind-hearted enough to dignify them with a claim
+to kinship to real poetry, the word _Ballad_ rolls out without the
+slightest effort, as a term that takes them all in. Yes, this is very
+true, but they are of a strange type indeed. They are Nature Ballads,
+many of them, in the sense as ordinarily used. In quite another sense,
+however, from that in which Nature Ballad is ordinarily used, about all
+Folk Rhymes are Nature Ballads.
+
+I do not have reference to the thought content, but have reference to
+what I term Nature Ballads in form. Permit me to explain by analogy just
+what I would convey by the term Nature Ballad in form.
+
+All Nature is one. Though we arbitrarily divide Nature's objects for
+study, they are indissolubly bound together and every part carries in
+some part of its constitution some well defined marks which characterize
+the other parts with which it has no immediate connection. To
+illustrate: the absolutely pure sapphire, pure aluminic oxide,
+crystallized, is commonly colorless, but we know that Nature's most
+beautiful sapphires are not colorless, but are blue, and of other
+beautiful tints. These color tints are due to minutest traces of other
+substances, not at all of general common sapphire composition. We call
+them all sapphires, however, regardless of their little impurities which
+are present to enhance their charm and beauty. Likewise, all animal life
+begins with one cell, and though the one cell in one case develops into
+a vertebrate, and in another case into an invertebrate the cells persist
+and so all animal life has cellular structure in common. Yet, each
+animal branch has predominant traits that distinguish it from all other
+branches. This same thing is true of plants.
+
+Nature's method, then, of making things seems to be to put in a large
+enough amount of one thing to brand the article, and then to mix in, in
+small amounts, enough of other things to lend charm and beauty without
+taking the article out of its general class.
+
+This is that which goes to make Negro Folk Rhymes Nature Ballads in
+form. They are ballads, but all in the midst of even a Dance Song, by
+Nature an ordinary ballad, there may be interwoven comedy, tragedy, and
+nearly every kind of imaginable thing which goes rather with other
+general forms of poetry than with the ballad. As an example, in the
+Dance Song, "Promises of Freedom," we have mustered before our eyes the
+comic drawing of a deceptive ugly old Mistress and then follows the
+intimation of the tragic death of a poisoned slave owner, and as we are
+tempted to dance along in thought with the rhymer, we cannot escape
+getting the subtle impression that this slave had at least some "vague"
+personal knowledge of how the Master got that poison. It is a common
+easy-going ballad, but it is tinted with tragedy and comedy. This
+general principle will be found to run very largely through the highest
+types of Negro Folk Rhymes. It is the Nature method of construction, and
+thus we call them Nature Ballads in structure, or form.
+
+Other good examples of rhymes, Nature Ballads in structure, are "Frog
+Went a-Courting," "Sheep Shell Corn," "Jack and Dinah Want Freedom."
+
+I now direct attention further to the classification of Negro Rhymes as
+Ballads. My earnest desire was to classify Negro Rhymes under ordinary
+headings such as are used by literary men and women everywhere in their
+general classification of Ballads. I considered this very important
+because it would enable students of comparative Literature to compare
+easily the Negro Folk Rhymes with the Folk Rhymes of all peoples. I was
+much disappointed when I found that the Negro Folk Rhymes, when invited,
+refused to take their places whole-heartedly in the ordinary
+classification. As an example of many may be mentioned the little Rhyme
+"Jaybird." It is a Dance Song, and thus comes under the Dance Song
+Division, commonly used for Ballads. But, it also belongs under Nature
+Lore heading, because the Negroes many years ago often told a story, in
+conjunction with song, of the great misfortunes which overtook a Negro
+who tried to get his living by hunting Jaybirds. Finally it also belongs
+under the heading Superstitions, for its last stanza very plainly
+alludes to the old Negro superstition of slavery days which declared
+that it was almost impossible to find Jaybirds on Friday because they
+went to Hades on that day to carry sand to the Devil.
+
+But so important do I think of comparative study that I have taken the
+ordinary headings used for Ballads and, after adding that omnibus
+heading "Miscellaneous," have done my best. The majority of the Rhymes
+can be placed under headings ordinarily used. This was to be expected.
+It is in obedience to Natural Law. We see it in the Music World. The
+Caucasian music has eight fundamental tones, the Japanese music has
+five, while, according to some authorities, Negro Jubilee-music has
+nine; yet all these music scales have five tones in common. In the
+Periodic System of Elements there are two periods; a short period and a
+long period, but both periods embrace, in common, elements belonging to
+the same family. So with the Ballads, certain classification headings
+will very well take in both the Negro and all others. The Negro Ballad,
+however, does not entirely properly fit in. I have therefore resorted to
+the following expedient: I have taken the headings ordinarily used, and
+have listed under each heading the Negro Rhymes which belong with it, as
+nearly as possible. I have placed this classified list at the end of the
+book, under the title "Comparative Study Index." By using this Index one
+can locate and compare Negro Folk productions with the corresponding
+Folk productions of other peoples.
+
+The headings found in this Comparative Study Index are as follows:
+
+   1. Love Songs.
+   2. Dance Songs.
+   3. Animal and Nature Lore.
+   4. Nursery Rhymes.
+   5. Charms and Superstitions.
+   6. Hunting Songs.
+   7. Drinking Songs.
+   8. Wise and Gnomic Sayings.
+   9. Harvest Songs.
+  10. Biblical and Religious Themes.
+  11. Play Songs.
+  12. Miscellaneous.
+
+With the way paved for others to make such comparative study as they
+would like, I now feel free to use a classification which lends itself
+more easily to a discussion of the origin and evolution of Negro Rhyme.
+The basic principle used in this classification is Origin and under each
+source of origin is placed the various classes of Rhymes produced. It
+has seemed to the writer, who is himself a Negro, and has spent his
+early years in the midst of the Rhymes and witnessed their making, that
+there are three great divisions derived from three great mainsprings or
+sources.
+
+The Divisions are as follows:
+
+  I. Rhymes derived from the Social Instinct.
+  II. Rhymes derived from the Homing Instinct.
+  III. Rhymes of Psycho-composite origin.
+
+The terms Social and Homing Instincts are familiar to every one, but the
+term Psycho-composite was coined by the writer after much hesitation and
+with much regret because he seemed unable to find a word which would
+express what he had in mind.
+
+To make clear: the classes of Rhymes falling under Divisions I and II
+owe their crudest initial beginnings to instinct, while those under
+Division III owe their crudest beginnings partly to instinct, but partly
+also to intelligent thinking processes. To illustrate--Courtship Rhymes
+come under Division II, because courtship primarily arises from the
+homing instinct, but when we come to "quasi" wise sayings--directed
+largely to criticism or toward improvement, there is very much more than
+instinct concerned. In Division III the Rhymes are directed largely to
+improvement. In explanation of why they are in Division III, I would
+say, the desire to better one's condition is instinctive, but the
+slightest attainment of the desire comes through thought pure and
+simple. I have invented the term Psycho-composite to include all this.
+
+In reading the Rhymes under Division III, one finds comparatively large,
+abstract, general conclusions, such as--General loquaciousness is
+unwise: Assuming to know everything is foolish: Self-control is a great
+virtue. Proper preparation must be made before presuming to give
+instruction, etc. Such generalizations involve something not necessarily
+present in the crudest initiations of such Rhymes as those found under
+Divisions I and II. Below is a tabular view of my proposed
+classification of Negro Folk Rhymes:
+
+          DIVISION                    CLASS
+
+                                1. Dance Rhymes
+  I. Social Instinct Rhymes     2. Dance Rhyme Songs
+                                3. Play Songs
+                                4. Pastime Rhymes
+
+                                1. Love Rhymes
+  II. Homing Instinct Rhymes    2. Courtship Rhymes
+                                3. Marriage Rhymes
+                                4. Married Life Rhymes
+
+  III. Psycho-composite Rhymes  1. Criticism and Improvement Rhymes
+
+Under this tabulation, let us now proceed to discuss the Origin and
+Evolution of Negro Folk Rhymes.
+
+Early in my discussion the reader will recall that I explained in
+considerable detail how the Dance Rhyme words were used in the dance. I
+am now ready to announce that the Dance Rhyme was derived from the
+dance, and to explain how the Dance Rhyme became an evolved product of
+the dance.
+
+I witnessed in my early childhood the making of a few Dance Rhymes. I
+have forgotten the words of most of those whose individual making I
+witnessed but the "Jonah's Band Party" found in our collection is one
+whose making I distinctly recall. I shall tell in some detail of its
+origin because it serves in a measure to illustrate how the Dance Rhymes
+probably had their beginnings. First of all be it known that there was a
+"step" in dancing, originated by some Negro somewhere, called "Jonah's
+Band" step. There is no need that I should try to describe that step
+which, though of the plain dance type, was accompanied from the
+beginning to the end by indescribable "frills" of foot motion. I can't
+describe it, but if one will take a stick and cause it to tap so as to
+knock the words: "Setch a kickin' up san'! Jonah's band," while he
+repeats the words in the time of 2/4 music measure, the taps will
+reproduce the tattoo beaten upon the ground by the feet of the dancers,
+when they danced the "Jonah's Band" step. The dancers formed a circle
+placing two or more of their skilled dancers in the middle of it. Now
+when I first witnessed this dance, there were no words said at all.
+There was simply patting with the hands and dancing, making a tattoo
+which might be well represented by the words supplied later on in its
+existence. Later, I witnessed the same dance, where the patting and
+dancing were as usual, but one man, apparently the leader, was simply
+crying out the words, "Setch a kickin' up san'!" and the crowd answered
+with the words, "Jonah's Band!"--the words all being repeated in
+rhythmic harmony with the patting and dancing. Thus was born the line,
+"Setch a kickin' up san'! Jonah's Band!" In some places it was the
+custom to call on the dancers to join with those of the circle, at
+intervals in the midst of the dance, in dancing other steps than the
+Jonah's Band step. Some dance leaders, for example, simply called in
+plain prose--"Dance the Mobile Buck," others calling for another step
+would rhyme their call. Thus arose the last lines to each stanza, such
+as--
+
+    "Raise y[=o]' right foot, kick it up high!
+    Knock dat 'Mobile Buck' in de eye!"
+
+This is the genesis of the "Jonah's Band Party," found in our
+collection. The complete rhyme becomes a fine description of an old-time
+Negro party. It is probable that much Dance Rhyme making originated in
+this or a similar way.
+
+Let us assume that Negro customs in Slavery days were what they were in
+my childhood days, then it would come about that such an ocasional Rhyme
+making in a crowd would naturally stimulate individual Rhyme makers, and
+from these individuals would naturally grow up "crops" of Dance Rhymes.
+Of course I cannot absolutely know, but I think when I witnessed the
+making of the "Jonah's Band Party," that I witnessed the stimulus which
+had produced the Dance Rhyme through the decades of preceding years. I
+realize, however, that this does not account for the finished Rhyme
+products. It simply gives one source of origin. How the Rhyme grew to
+its complex structure will be discussed later, because that discussion
+belongs not to the Dance Rhyme alone, but to all the Rhymes.
+
+There was a final phase of development of "Jonah's Band Party" witnessed
+by the writer; namely, the singing of the lines, "Setch a kickin' up
+san'! Jonah's Band!" The last lines of the stanzas, the lines calling
+for another step on the part of both the circle and the dancers, were
+never sung to my knowledge. The little tune to the first lines consisted
+of only four notes, and is inserted below.
+
+[music]
+
+I give this as of interest because it marks a partial transition from a
+Dance Rhyme to a Dance Rhyme Song. In days of long ago I occasionally
+saw a Dance Rhyme Song "patted and danced" instead of sung or played and
+danced. This coupled with the transition stage of the "Jonah's Band
+Dance" just given has caused me to believe that Dance Rhyme Songs were
+probably evolved from Dance Rhymes pure and simple, through individuals
+putting melodies to these Dance Rhymes.
+
+As Dance Rhymes came from the dance, so likewise Play Rhymes came from
+plays. I shall now discuss the one found in our collection under the
+caption--"Goosie-gander." Since the Play has probably passed from the
+memory of most persons, I shall tell how it was played. The children
+(and sometimes those in their teens) sat in a circle. One individual,
+the leader, walked inside the circle, from child to child, and said to
+each in turn, "Goosie-gander." If the child answered "Goose," the leader
+said, "I turn your ears loose," and went on to the next child. If he
+answered "Gander," the leader said, "I pull y[=o]' years 'way yander."
+Then ensued a scuffle between the two children; each trying to pull the
+other's ears. The fun for the circle came from watching the scuffle.
+Finally the child who got his ears pulled took his place in the circle,
+leaving the victor as master of ceremonies to call out the challenge
+"Goosie-gander!" The whole idea of the play is borrowed from the
+fighting of the ganders of a flock of geese for their mates. Many other
+plays were likewise borrowed from Nature. Examples are found in "Hawk
+and Chickens Play," and "Fox and Geese Play." "Caught by a Witch Play"
+is borrowed from superstition. But to return to "Goosie-gander"--most
+children of our childhood days played it, using common prose in the
+calls, and answers just as we have here described it. A few children
+here and there so gave their calls and responses as to rhyme them into a
+kind of a little poem as it is recorded in our collection. Without
+further argument, I think it can hardly be doubted that the whole thing
+began as a simple prose call, and response, and that some child inclined
+to rhyming things, started "to do the rest," and was assisted in
+accomplishing the task by other children equally or more gifted. This
+reasonably accounts for the origin of the Play Rhyme.
+
+Now what of the Play Rhyme Songs? There were many more Play Rhyme Songs
+than Play Rhymes. There were some of the Play Rhyme Songs sung in prose
+version by some children and the same Play Song would be sung in rhymed
+version by other children. Likewise the identical Play Song would not be
+sung at all by other children; they would simply repeat the words as in
+the case of the Rhyme "Goosie-gander," just discussed. The little Play
+Song found in our collection under the caption, "Did You Feed My Cow?"
+is one which was current in my childhood in the many versions as just
+indicated. The general thought in the story of the Rhyme was the same in
+all versions whether prose or rhyme, or song. In cases where children
+repeated it instead of singing it, it was generally in prose and the
+questions were so framed by the leader that all the general responses by
+the crowd were "Yes, Ma'am!" Where it was sung, it was invariably
+rhymed; and the version found in this collection was about the usual
+one.
+
+The main point in the discussion at this juncture is--that there were
+large numbers of Play Songs like this one found in the transition stage
+from plain prose to repeated rhyme, and to sung rhyme. Such a status
+leaves little doubt that the Play Song travelled this general road in
+its process of evolution.
+
+I might take up the Courtship Rhymes, and show that they are derivatives
+of Courtship, and so on to the end of all the classes given in my
+outline, but since the evidences and arguments in all the cases are
+essentially the same I deem it unnecessary.
+
+I now turn attention to a peculiar general ideal in Form found in Negro
+Folk Rhymes. It probably is not generally known that the Negroes, who
+emerged from the House of Bondage in the 60's of the last century, had
+themselves given a name to their own peculiar form of verse. If it be
+known I am rather confident that it has never been written. They named
+the parts of their verse "Call," and (Re) "Sponse." After explaining
+what is meant by "call" and "sponse," I shall submit an evidence on the
+matter. In its simplest form "call" and "sponse" were what we would call
+in Caucasian music, solo and chorus. As an example, in the little Play
+Song used in our illustration of Play Songs, "Did You Feed My Cow?" was
+sung as a solo and was known as the "Call," while the chorus that
+answered "Yes, Ma'am" was known as the "Sponse."
+
+I now beg to offer testimony in corroboration of my assertion that
+Negroes had named their Rhyme parts "Call" and "Sponse." So well were
+these established parts of a Negro Rhyme recognized among Negroes that
+the whole turning point of one of their best stories was based upon it.
+I have reference to the Negro story recorded by Mr. Joel Chandler Harris
+in his "Nights with Uncle Remus," under the caption, "Brother Fox,
+Brother Rabbit, and King Deer's Daughter." Those who would enjoy the
+story, as the writer did in his childhood days, as it fell from the lips
+of his dear little friends and dusky playmates, will read the story in
+Mr. Harris' book. The gist of the story is as follows: The fox and the
+rabbit fall in love with King Deer's daughter. The fox has just about
+become the successful suitor, when the rabbit goes through King Deer's
+lot and kills some of King Deer's goats. He then goes to King Deer, and
+tells him that the fox killed the goats, and offers to make the fox
+admit the deed in King Deer's hearing. This being agreed to, the rabbit
+goes to find the fox, and proposes that they serenade the King Deer
+family. The fox agreed. Then the rabbit proposes that he sing the "Call"
+and that the fox sing the "Sponse" (or, as Mr. Harris records the story,
+the "answer"), and this too was agreed upon. We now quote from Mr.
+Harris:
+
+"Ole Br'er Rabbit, he make up de song he own se'f en' he fix it so that
+he sing de _Call_ lak de Captain er de co'n-pile, en ole Br'er Fox, he
+hatter sing de answer...." "Ole Br'er Rabbit, he got de call en he open
+up lak dis:
+
+    "'Some folks pile up mo'n dey kin tote,
+    En dat w'at de matter wid King Deer's goat.'
+
+en den Br'er Fox, he make _answer_, 'Dat's so, dat's so, en I'm glad dat
+it's so.' Den de quills, and de tr'angle, dey come in, en den Br'er
+Rabbit pursue on wid de call--
+
+    "'Some kill sheep, en some kill shote,
+    But Br'er Fox kill King Deer goat,'
+
+en den Br'er Fox, he jine in wid de answer, 'I did, I did, en I'm glad
+dat I did.'"
+
+The writer would add that the story ends with a statement that King Deer
+came out with his walking cane, and beat the fox, and then invited the
+rabbit in to eat chicken pie.
+
+From the foregoing one will recognize the naming, by the Negroes
+themselves, of the parts of their rhymed song, as "call," and "answer."
+Now just a word concerning the term "answer," instead of "sponse," as
+used by the writer. You will notice that Mr. Harris records,
+incidentally, of Br'er Rabbit "dat he sing de _call_, lak de Captain er
+de co'n pile." This has reference to the singing of the Negroes at corn
+huskings where the leader sings a kind of solo part, and the others by
+way of response, sing a kind of chorus. At corn huskings, at plays, and
+elsewhere, when Negroes sang secular songs, some one was chosen to lead.
+As a little boy, I witnessed secular singing in all these places. When a
+leader was chosen, the invariable words of his commission were: "You
+sing the 'call' and we'll sing the '_sponse_.'" Of course the sentence
+was not quite so well constructed grammatically, but "call" and "sponse"
+were the terms always used. This being true, I have felt that I ought to
+use these terms, though I recognize the probability of there being
+communities where the word _answer_ would be used. All folk terms and
+writings have different versions.
+
+The "sponses" in most of the Negro Folk Rhymes in our collection are
+wanting, and the Rhymes themselves, in most cases, consist of calls
+only. As examples of those with "sponses" left, may be mentioned "Juba"
+with its sponse "Juba"; "Frog Went A-courting," with its sponse
+"Uh-huh!"; "Did You Feed My Cow?" with its sponse "Yes, Ma'am," etc.,
+and "The Old Black Gnats," where the sponses are "I cain't git out'n
+here, etc."
+
+I shall now endeavor to show why the Negro Folk Rhymes consist in most
+cases of "calls" only, and how and why the "sponses" have disappeared
+from the finished product. I record here the notes of two common Negro
+Play Songs along with sample stanzas used in the singing of them. I hope
+through a little study of these, to make clear the matter of Folk Rhyme
+development, to the point of dropping the "sponse."
+
+[music]
+
+[music]
+
+These simple little songs,--the first made up of five notes, and the
+second of seven,--are typical Negro Play songs. I shall not describe the
+simple play which accompanied them because that description would not
+add to the knowledge of the evolution under consideration.
+
+At a Negro Evening Entertainment several such songs would be sung and
+played, and some individual would be chosen to lead or sing the "calls"
+of each of the songs. The 'sponses in some cases were meaningless
+utterances, like "Holly Dink," given in the first song recorded, while
+others were made up of some sentence like "'Tain't Gwineter Rain No
+M[=o]'!" found in the second song given. The "sponses" were not expected
+to bear a special continuous relation in thought to the "calls." Indeed
+no one ever thought of the 'sponses as conveyers of thought, whether
+jumbled syllables or sentences. The songs went under the names of the
+various sponses. Thus the first Play Song recorded was known as "Holly
+Dink," and the second as "'Tain't Gwineter Rain No M[=o]'."
+
+The playing and singing of each of these songs commonly went on
+continuously for a quarter of an hour or more. This being the case, we
+scarcely need add that the leader of the Play Song had both his memory
+and ingenuity taxed to their utmost, in devising enough "calls" to last
+through so long a period of time of continuous playing and singing. The
+reader will notice under both of the Play Songs recorded, that I have
+written under "(a)" two stanzas of prose "calls." I would convey the
+thought to the reader, by these illustrations, that the one singing the
+"calls" was at liberty to use, and did use any prose sentence that would
+fit in with the "call" measures of the song.
+
+Of course these prose "calls" had to be rhythmic to fit into the
+measures, but much freedom was allowed in respacing the time allotted to
+notes, and in the redivision of the notes in the "fitting in" process.
+Even these prose stanzas bore the mark of Rhyme to the Negro fancy. The
+reader will notice that, where the "call" is in prose, it is always
+repeated, and thus the line in fancy rhymed with itself. Examples as
+found in our Second Play Song:
+
+    "Hail storm, frosty night.
+     Hail storm, frosty night."
+
+Now, it was considered by Negroes, in the days gone by, something of an
+accomplishment for a leader to be able to sing "calls," for so long a
+time, when they bore some meaning, and still a greater accomplishment
+to sing the calls both in rhyme and with meaning. This led each
+individual to rhyme his calls as far as possible because leaders were
+invited to lead songs during an evening's entertainment, largely in
+accordance with their ability, and thus those desiring to lead were
+compelled to make attainment in both rhyme and meaning. Now, the reader
+will notice under "Holly Dink," heading "(b)," "I sh[=o]' loves Miss
+Donie." This is a part of the opening line of our Negro Rhyme, "Likes
+and Dislikes." I would convey the thought to the reader that this whole
+Rhyme, and any other Negro Rhyme which would fit into a 2/4 music
+measure, could be, and was used by the Play Song leader in singing the
+calls of "Holly Dink." Thus a leader would lead such a song; and by
+using one whole Rhyme after another, succeed in rhyming the calls for a
+quarter of an hour. If his Rhymes "gave out," he used rhythmic prose
+calls; and since these did not need to have meaning, his store was
+unlimited. Just as any Rhyme which could be fitted into a 2/4 music
+measure would be used with "Holly Dink," so any Rhyme which could be
+fitted into a 4/4 measure would be used with the "'Tain't Gwineter Rain
+No M[=o]'." Illustrations given under "(b)" and "(c)" under the last
+mentioned song are--"Promises of Freedom," and "Hawk and Buzzard."
+
+Since all Negro Songs with a few exceptions were written in 4/4 measures
+and 2/4 measures, and Negro rhymed "calls" were also written in the same
+way, the rhymed "calls" which may have originated with one song were
+transferred to, and used with other songs. _Thus the rhymed "calls"
+becoming detached for use with any and all songs into which they could
+be fitted, gave rise to the multitude of Negro Folk Rhymes, a small
+fragment of which multitude is recorded in our collection._ Negro Dances
+and Dance Rhymes were both constructed in 2/4 and 4/4 measures, and the
+Rhymes were propagated for that same reason. Rhymes, once detached from
+their original song or dance, were learned, and often repeated for mere
+pastime, and thus they were transmitted to others as unit compositions.
+
+We have now seen how detached rhymed "calls" made our Negro Folk Rhymes.
+Next let us consider how and why whole little "poems" arose in a Play
+Song. One will notice in reading Negro Folk Rhymes that the larger
+number of them tell a little story or give some little comic
+description, or some little striking thought. Since all the Rhymes had
+to be memorized to insure their continued existence, and since Memory
+works largely through Association; one readily sees that the putting of
+the Rhymes into a story, descriptive, or striking thought form, was the
+only thing that could cause their being kept alive. It was only through
+their being composed thus that Association was able to assist Memory in
+recalling them. Those carrying another form carried their death warrant.
+
+Now let us look a little more intimately into how the Rhymes were
+probably composed. In collecting them, I often had the same Rhyme given
+to me over and over again by different individuals. Most of the Rhymes
+were given by different individuals in fragmentary form. In case of all
+the Rhymes thus received, there would always be a half stanza, or a
+whole stanza which all contributors' versions held in common. As
+examples: in "Promises of Freedom," all contributors gave the lines--
+
+    "My ole Mistiss promise me
+    W'en she died, she'd set me free."
+
+In "She Hugged Me and Kissed Me," the second stanza was given by all. In
+"Old Man Know-All," the first two lines of the last stanza came from all
+who gave the Rhyme. The writer terms these parts of the individual
+Rhymes, seemingly known to all who know the "poems," _key verses_. The
+very fact that the key verses, only, are known to all, seems to me to
+warrant the conclusion that these were probably the first verses made in
+each individual Rhyme. Now when an individual made such a key verse, one
+can easily see that various singers of "calls" using it would attempt to
+associate other verses of their own making with it in order to remember
+them all for their long "singing Bees." The story, the description, and
+the striking thought furnished convenient vehicles for this association
+of verses, so as to make them easy to keep in memory. This is why the
+verses of many singers of "Calls" finally became blended into little
+poem-like Rhymes.
+
+I have pointed out "call" and "sponse," in Rhymes, and have shown how,
+through them, in song, the form of the Negro Rhyme came into existence.
+But many of the Pastime Rhymes apparently had no connection with the
+Play or the Dance. I must now endeavor to account for such Rhymes as
+these.
+
+In order to do this, I must enter upon the task of trying to show how
+"call" and "sponse" originated.
+
+The origin of "call" and "sponse" is plainly written on the faces of the
+rhymes of the Social Instinct type. Read once again the following rhyme
+recorded in our collection under the caption of "Antebellum Courtship
+Inquiry"--
+
+    (He)--"Is you a flyin' lark, or a settin' dove?"
+    (She)--"I'se a flyin' lark, my Honey Love."
+    (He)--"Is you a bird o' one fedder, or a bird o' two?"
+    (She)--"I'se a bird o' one fedder, w'en it comes to you."
+    (He)--"Den Mam:
+    "I has desire an' quick temptation
+    To jine my fence to y[=o]' plantation."
+
+This is primitive courtship; direct, quick, conclusive. It is the crude
+call of one heart, and the crude response of another heart. The two
+answering and blending into one, in the primitive days, made a rhymed
+couplet--one. It is "call" and "sponse," born to vibrate in
+complementary unison with two hearts that beat as one. "Did all Negroes
+carry on courtship in this manner in olden days?" No, not by any means.
+Only the more primitive by custom, and otherwise used such forms of
+courtship. The more intelligent of those who came out of slavery had
+made the white man's customs their own, and laughed at such crudities,
+quite as much as we of the present day. The writer thinks his ability
+to recall from childhood days a clear remembrance of many of these
+crude things is due to the fact that he belonged to a Negro family that
+laughed much, early and late, at such things. But the simple forms of
+"call" and "sponse" were used much in courtship by the more primitive.
+This points out something of the general origin of "call" and "sponse"
+in Social Instinct Rhymes, but does not account for their origin in
+other types of Rhymes. I now turn attention to those.
+
+About eighteen years ago I was making a Sociological investigation for
+Tuskegee Institute, which carried me into a remote rural district in the
+Black Belt of Alabama. In the afternoon, when the Negro laborers were
+going home from the fields and occasionally during the day, these
+laborers on one plantation would utter loud musical "calls" and the
+"calls" would be answered by musical responses from the laborers on
+other plantations. These calls and responses had no peculiar
+significance. They were only for whatever pleasure these Negroes found
+in the cries and apparently might be placed in a parallel column
+alongside of the call of a song bird in the woods being answered by
+another. Dr. William H. Sheppard, many years a missionary in Congo,
+Africa, upon inquiry, tells me that similar calls and responses obtain
+there, though not so musical. He also tells me that the calls have a
+meaning there. There are calls and responses for those lost in the
+forest, for fire, for the approach of enemies, etc. These Alabama Negro
+calls, however, had no meaning, and yet the calls and responses so
+fitted into each other as to make a little complete tune.
+
+Now, I had heard "field" calls all during my early childhood in
+Tennessee, and these also were answered by men in adjoining fields. But
+the Tennessee calls and responses which I remembered had no kinship
+which would combine them into a kind of little completed song as was the
+case with the Alabama calls and responses.
+
+Again, in Tennessee when a musical call was uttered by the laborers in
+one field, those in the other fields around would often use identically
+the same call as a response. The Alabama calls and responses were short,
+while those of Tennessee were long.
+
+I am listing an Alabama "call" and "response." I regret that I cannot
+recall more of them. I am also recording three Tennessee calls or
+responses (for they may be called either). Then I am recording a fourth
+one from Tennessee, not exactly a call, but partly call and partly song.
+The reason for this will appear later. By a study of these I think we
+can pretty reasonably make a final interesting deduction as to the
+general origin of "call" and "sponse" in the form of the types of Rhyme
+not already discussed.
+
+In the Alabama Field Call and response one cannot help seeing a
+counterpart in music of the "call" and "sponse" in the words of the
+types of Rhymes already discussed.
+
+ALABAMA FIELD CALL AND RESPONSE
+
+[music]
+
+TENNESSEE FIELD CALLS OR RESPONSES
+
+[music]
+
+If one looks at Number 1 under the Tennessee calls or responses, there
+is nothing to indicate especially that it was ever other than the whole
+as it is here written. But when he looks at Number 2 under Tennessee
+calls or responses he is struck with the remarkable fact that it changes
+right in the midst from the rhythm of the 9/8 measure to that of the 6/8
+measure. Now if there be any one characteristic which is constant in
+Negro music it is that the rhythm remains the same throughout a given
+production. In a very, very few long Negro productions I have known an
+occasional change in the time, but _never_ in a musical production
+consisting of a few measures. The only reasonable explanation to be
+offered for the break in the time of Number 2, as a Negro production, is
+that it was originally a "call" and "response"; the "call" being in a
+9/8 measure and the "response" being in a 6/8 measure. Here then we have
+"call" and "sponse." It would look as if the Negroes in Tennessee had
+combined the "calls" and "sponses" into one and had used them as a
+whole. When we accept this view all the differences, between the Alabama
+and Tennessee productions, before mentioned are accounted for. Then
+looking again at Number 1 under Tennessee calls or responses, one sees
+that it would conveniently divide right in the middle to make a "call"
+and "sponse." Now look at Number 3 under Tennessee calls. It was usually
+cried off with the syllable _ah_ and would easily divide in the middle.
+I remember this "call" very distinctly from my childhood because the men
+giving it placed the thumb upon the larynx and made it vibrate
+longitudinally while uttering the cry. The thumb thus used produced a
+peculiar screeching and rattling tone that hardly sounded human. But the
+words "I want a piece of hoecake, etc.," as recorded under the "call,"
+were often rhymed off in song with it. Thus we trace the form of "call"
+and "sponse" from the friendly musical greeting between laborers at a
+distance to the place of the formation of a crude Rhyme to go with it. I
+would have the reader notice that these words finally supplied were in
+"call" and "sponse" form. The idea is that one individual says: "I want
+a piece of hoecake, I want a piece o' bread," and another chimes in by
+way of response: "Well, I'se so tired and hongry dat I'se almos' dead."
+
+"Ole Billie Bawlie" found as Number 4 was a little song which was used
+to deride men who had little ability musically to intonate "calls" and
+"sponses." The name "Bawlie" was applied to emphasize that the
+individual bawled instead of sounding pleasant notes. It is of interest
+to us because it is a mixture of Rhyme and Field "call" and completes
+the connecting links along the line of Evolution between the "call" and
+"sponse" and the Rhyme.
+
+Wherever one thing is derived from another by process of Evolution,
+there is the well known biological law that there ought to be every
+grade of connecting link between the original and the last evolved
+product. The law holds good here in our Rhymes. If this last statement
+holds good then the law must be universal. May we be permitted to
+digress enough to show that the law is universal because, though it is a
+law whose biological phase has been long recognized, not much attention
+has been paid to it in other fields.
+
+It holds good in the world of inanimate matter. There are three general
+classes of chemical compounds: Acids, bases, and salts. But along with
+these three general classes are found all kinds of connecting links:
+Acid salts, basic salts, hydroxy acids, etc.
+
+It holds good in the animal and plant worlds. Looking at the ancestors
+of the horse in geological history we find that the first kind of horse
+to appear upon the earth was the Oeohippus. He had four toes on the
+hind foot and three on the front one. Through a long period of
+development, the present day one-toed horse descended from this
+many-toed primitive horse. There is certainty of the line of descent of
+the horse because all the connecting links have been discovered in
+fossil form, between the primitive horse and the present day horse.
+Plants in like manner show all kinds of connecting links.
+
+The law holds sway in the world of language; and that is the world with
+which we are concerned here. The state of Louisiana once belonged to the
+French; now it belongs to an English-speaking people. If one goes among
+the Creoles in Louisiana he will find a very few who speak almost
+Parisian French and very poor English. Then he will find a very large
+number who speak a pure English and a very poor French. Between these
+classes he will find those speaking all grades of French and English.
+These last mentioned are the connecting links, and the connecting links
+bespeak a line of evolution where those of French descent are gradually
+passing over to a class which will finally speak the English language
+exclusively.
+
+Now let us turn our attention again directly to the discussion of the
+evolution of Negro Folk Rhymes. One can judge whether or not he has
+discovered the correct line of descent of the Rhymes by seeing whether
+or not he has all the connecting links requisite to the line of
+evolution. I think it must be agreed that I have given every type of
+connecting link between common Field "calls" and "sponses," and
+incipient crude Negro Rhymes. They set the mold for the other general
+Negro Rhymes not hitherto discussed.
+
+If the reader will be kind enough to apply the test of connecting links
+to the Play and other Rhymes already discussed, he will find that the
+reactions will indicate that we have traced their correct lines of
+origin and descent.
+
+The spirit of "call" and "sponse" hovers ghost-like over the very
+thought of many Negro Rhymes. In "Jaybird," the first two lines of each
+stanza are a call in thought, while the last two lines are a "sponse" in
+thought to it. The same is true of "He Is My Horse," "Stand Back, Black
+Man," "Bob-White's Song," "Promises of Freedom," "The Town and the
+Country Bird," and many others.
+
+Then "call" and "sponse" looms up in the midst in thought between stanza
+and stanza in many Rhymes. Good examples are found in "The Great Owl's
+Song," "Sheep and Goat," "The Snail's Reply," "Let's Marry--Courtship,"
+"Shoo! Shoo!" "When I Go to Marry," and many others.
+
+"Call" and "sponse" even runs, at least in one case, between whole
+Rhymes. "I Wouldn't Marry a Black Girl" as a "call" has for its
+"sponse": "I Wouldn't Marry a Yellow or a White Negro Girl." The Rhyme
+"I'd Rather Be a Negro Than a Poor White Man" is a "sponse" to an
+imaginary "call" that the Negro is inferior by nature.
+
+After some consideration, as compiler of the Negro Rhymes, I thought I
+ought to say something of their rhyming system, but before doing this I
+want to consider for a little the general structure of a stanza in Negro
+Rhymes.
+
+Of course there is no law, but the number of lines in a stanza of
+English poetry is commonly a multiple of two. The large majority of
+Negro Rhymes follows this same rule, but, even in case of these, the
+lines are so unsymmetrical that they make but the faintest approach to
+the commonly accepted standards. Then there are Rhymes with stanzas of
+three lines and there are those with five, six, and seven lines. This is
+because the imaginary music measure is the unit of measurement instead
+of feet, and the stanzas are all right so long as they run in consonance
+with the laws governing music measures and rhythm. In a tune like "Old
+Hundred" commonly used in churches as a Doxology, there are four
+divisions in the music corresponding with the four lines of the stanza.
+Each division is called, in music, a Phrase. Two of these Phrases make a
+Phrase Group and two Phrase Groups make a Period. Now when one moves
+musically through a Phrase Group his sense of rhythm is partially
+satisfied and when he has moved through a Period the sense of Rhythm is
+entirely satisfied.
+
+When one reads the three line stanzas of Negro Folk Rhymes he passes
+through a music Period and thus the stanza satisfies in its rhythm.
+Example:
+
+    "Bridle up er rat,
+    Saddle up er cat,
+    An' han' me down my big straw hat."
+
+Here the first two lines are a Phrase each and constitute together a
+Phrase Group. The third line is made up of two Phrases, or a Phrase
+Group in itself. Thus this third line along with the first two makes a
+Music Period and the whole satisfies our rhythmic sense though the lines
+are apparently odd. In all Negro Rhymes, however odd in number and
+however ragged may seem the lines, the music Phrases and Periods are
+there in such symmetry as to satisfy our sense of rhythm.
+
+I now turn attention to the rhyming of the lines in Negro verse. The
+ordinary systems of rhyming as set forth by our best authors will take
+in most Negro Rhymes. Most of them are Adjacent and Interwoven Rhymes.
+There are five systems of rhyming commonly used in the white man's
+poetry but the Negro Rhyme has nine systems. Here again we find a
+parallelism, as in case of music scales, etc. Five in each system are
+the same. The ordinary commonly accepted systems are:
+
+  a   Where the adjacent lines rhyme by twos. We
+  a   call it "Adjacent rhymes" or a "Couplet."
+
+  a
+  b   Where the alternating lines rhyme we
+  a   call it "Alternate" or "Interwoven Rhyme."
+  b
+
+  a   Where lines 1 and 4, and 2 and 3 rhyme
+  b   respectively with each other. This is called
+  b   "Close Rhyme."
+  a
+
+  a   Where in a stanza of four lines, lines 2 and
+  b   4 only rhyme. This is sometimes also called
+  c   "Alternate Rhyme."
+  b
+
+  a
+  a   Where in a stanza of four lines 1, 2 and 4
+  b   rhyme. This is called "Interrupted Rhyme."
+  a
+
+I now beg to offer a system of classification in rhyming which will
+include all Negro Rhymes. I shall insert the ordinary names in
+parenthesis along with the new names wherever the system coincides with
+the ordinary system for white men's Rhymes. The only reason for not
+using the old names exclusively in these places is that nomenclature
+should be kept consistent in any proposed classification, so far as that
+is possible.
+
+In classifying the rhyming of the lines or verses I have borrowed terms
+from the gem world, partly because the Negro hails from Africa, a land
+of gems; and partly because the verses bear whatever beauty there might
+have been in his crude crystalized thoughts in the dark days of his
+enslavement.
+
+I present herewith the outline and follow it with explanations:
+
+    _Class_                          _Systems_
+
+  I Rhythmic Solitaire      (a) Rhythmic measured lines
+
+  II Rhymed Doublet         (a) Regular (Adjacent Rhyme)
+                            (b) Divided (Includes Close Rhyme)
+                            (c) Supplemented
+
+  III Rhyming Doublet       (a) Regular (Includes Alternate Rhyme)
+                            (b) Inverted (Close Rhyme)
+
+  IV Rhymed Cluster         (a) Regular
+                            (b) Divided (Interrupted Rhyme)
+                            (c) Supplemented
+
+_I a._ Rhythmic Solitaire, Rhythmic measured lines. In many Rhymes there
+is a rhythmic line dropped in here and there that doesn't rhyme with
+any other line. They are rhythmic like the other lines and serve equally
+to fill out the music Phrases and Periods. These are the Rhythmic
+Solitaires and because of their solitaire nature it follows that there
+is only one system. Examples are found in the first line of each stanza
+of "Likes and Dislikes"; in the second line of each stanza of "Old Aunt
+Kate;" in lines five and six of each stanza of "I'll Wear Me a Cotton
+Dress," in lines three and four of the "Sweet Pinks Kissing Song," etc.
+The Rhythmic Solitaires do not seem to have been largely used by Negroes
+for whole compositions. Only one whole Rhyme in our collection is
+written with Rhythmic Solitaires. That Rhyme is: "Song to the Runaway
+Slave." This Rhyme is made up of blank verse as measured by the white
+man's standard.
+
+_II a._ The Regular Rhymed Doublet. This is the same as our common
+Adjacent Rhyme. There are large numbers of Negro Rhymes which belong to
+this system. The "Jaybird" is a good example.
+
+_II b._ The Divided Rhymed Doublet. It includes Close Rhyme and there
+are many of this system. In ordinary Close Rhyme one set of rhyming
+lines (two in number) is separated by two intervening lines, but this
+"Rhyming Couplet" in Negro Rhymes may be separated by three lines as in
+"Bought Me a Wife," where the divided doublet consists of lines 3 and 7.
+Then the Divided Rhymed Doublet may be separated by only one line, as in
+"Good-by, Wife," where the Doublet is found in lines 5 and 7.
+
+_II c._ The Supplemented Rhymed Doublet. It is illustrated by "Juba"
+found in our collection. The words "Juba! Juba!" found following the
+second line of each stanza, are the supplement. I shall take up the
+explanation of Supplemented Rhyme later, since the explanation goes with
+all Supplemented Rhyme and not with the Doublet only. I consider the
+Supplement one of the things peculiarly characteristic of Negro Rhyme.
+The following stanza illustrates such a Supplemented Doublet:
+
+    "Juba jump! Juba sing!
+    Juba cut dat Pidgeon's Wing! Juba! Juba!"
+
+Representing such a rhyming by letters we have
+
+    (a
+    (a-x
+
+_III._ The Rhyming Doublet. It is generally made up of two consecutive
+lines not rhyming with each other but so constructed that one of the
+lines will rhyme with one line of another Doublet similarly constructed
+and found in the same stanza.
+
+_III a._ The Regular Rhyming Doublet. It is the same as our common
+interwoven rhyme and is very common among Negro Rhymes. There is one
+peculiar Interwoven Rhyme found in our collection; it is "Watermelon
+Preferred." In it the second Rhyming Doublet is divided by a kind of
+parenthetic Rhythmic Solitaire.
+
+_III b._ The Inverted Rhyming Doublet. It is the same as our ordinary
+Close Rhyme.
+
+The writer had expected to find the Supplemented Rhyming Doublet among
+Negro Rhymes but peculiarly enough it does not seem to exist.
+
+_IV a._ The Regular Rhymed Cluster. It consists of three consecutive
+lines in the same stanza which rhyme. An example is found in "Bridle Up
+a Rat," one of whose stanzas we have already quoted. It is represented
+by the lettering
+
+  (a
+  (a
+  (a
+
+_IV. b._ The Divided Rhymed Cluster. It includes ordinary Interrupted
+Rhyme--with the lettering
+
+  (a  An example is found in the Ebo or
+  (a  Guinea Rhyme "Tree Frogs."
+  (b
+  (a
+
+But in Negro Folk Rhymes two lines may divide the Rhymed Cluster
+instead of one. An example of this is found in "Animal Fair," whose
+rhyming may be represented by the lettering
+
+  (a
+  (a
+  (b
+  (b
+  (a
+
+_IV c._ The Supplemented Rhymed Clusters. They are well represented in
+Negro Rhymes. Some have a single supplement as in "Negroes Never Die,"
+whose rhyming is lettered
+
+  (a
+  (a
+  (a-x
+
+Some have double supplements as in "Frog Went a-Courting" whose rhyming
+is lettered
+
+  (a-x
+  (a
+  (a-x
+
+Now Negroes did not retain, permanently, meaningless words in their
+Rhymes. The Rhymes themselves were "calls" and had meaning. The
+"sponses," such as "Holly Dink," "Jing-Jang," "Oh, fare you well,"
+"'Tain't gwineter rain no more," etc., that had no meaning, died year
+after year and new "sponses" and songs came into existence.
+
+Let us see what these permanently retained seemingly senseless
+Supplements mean.
+
+In "Frog Went a-Courting" we see the Supplement "uh-huh! uh-huh!" It is
+placed in the midst to keep vividly before the mind of the listener the
+ardent singing of the frog in Spring during his courtship season, while
+we hear a recounting of his adventures. It is to this Simple Rhyme what
+stage scenery is to the Shakespearian play or the Wagnerian opera. It
+seems to me (however crude his verse) that the Negro has here suggested
+something new to the field of poetry. He suggests that, while one
+recounts a story or what not, he could to advantage use words at the
+same time having no bearing on the story to depict the surroundings or
+settings of the production. The gifted Negro poet, Paul Laurence Dunbar,
+has used the supplement in this way in one of his poems. The poem is
+called "A Negro Love Song." The little sentence, "Jump back, Honey, jump
+back," is thrown in, in the midst and at the end of each stanza.
+Explaining it, the following is written by a friend, at the heading of
+this poem:
+
+"During the World's Fair he (Mr. Dunbar) served for a short time as a
+hotel waiter. When the Negroes were not busy they had a custom of
+congregating and talking about their sweethearts. Then a man with a tray
+would come along and, as the dining-room was frequently crowded, he
+would say when in need of passing room, 'Jump back, Honey, jump back.'
+Out of the commonplace confidences, he wove the musical little
+composition--'A Negro Love Song.'"
+
+Now, this line, "Jump back, Honey, jump back," was used by Mr. Dunbar to
+recall and picture before the mind the scurrying hotel waiter as he
+bragged to his fellows of his sweetheart and told his tales of
+adventure. It is the "stage scenery" method used by the slave Negro
+verse maker. Mr. Dunbar uses this style also in "A Lullaby,"
+"Discovered," "Lil' Gal" and "A Plea." Whether he used it knowingly in
+all cases, or whether he instinctively sang in the measured strains of
+his benighted ancestors, I do not know.
+
+The Supplement was used in another way in Negro Folk Dance Rhymes. I
+have already explained how the Rhymes were used in a general way in the
+Dance. Let us glance at the Dance Rhyme "Juba" with its Supplement,
+"Juba! Juba!" to illustrate this special use of the Supplement. "Juba"
+itself was a kind of dance step. Now let us imagine two dancers in a
+circle of men to be dancing while the following lines are being patted
+and repeated:
+
+    "Juba Circle, raise de latch,
+    Juba dance dat Long Dog Scratch, Juba! Juba!"
+
+While this was being patted and repeated, the dancers within the circle
+described a circle with raised foot and ended doing a dance step called
+"Dog Scratch." Then when the Supplement "Juba! Juba!" was said the whole
+circle of men joined in the dance step "Juba" for a few moments. Then
+the next stanza would be repeated and patted with the same general order
+of procedure.
+
+The Supplement, then, in the Dance Rhyme was used as the signal for all
+to join in the dance for a while at intervals after they had witnessed
+the finished foot movements of their most skilled dancers.
+
+The Supplement was used in a third way in Negro Rhymes. This is
+illustrated by the Rhyme, "Anchor Line" where the Supplement is "Dinah."
+This was a Play Song and was commonly used as such, but the Negro boy
+often sang such a song to his sweetheart, the Negro father to his child,
+etc. When such songs were sung on other occasions than the Play, the
+name of the person to whom it was being sung was often substituted for
+the name Dinah. Thus it would be sung
+
+    "I'se gwine out on de Anchor Line--Mary," etc.
+
+The Supplement then seems to have been used in some cases to broaden the
+scope of direct application of the Rhyme.
+
+The last use of the Supplement to be mentioned is closely related in its
+nature to the "stage scenery" use already mentioned. This kind of
+Supplement is used to depict the mental condition or attitude of an
+individual passing through the experiences being related. Good examples
+are found in "My First and My Second Wife" where we have the
+Supplements, "Now wusn't I sorrowful in mind," etc.; and in "Stinky
+Slave Owners" with its Supplements "Eh-Eh!" "Sho-sho!" etc.
+
+The Negro Rhymes here and there also have some kind of little
+introductory word or line to each stanza. I consider this also something
+peculiar to Negro Rhyme. I have named these little introductory words or
+sentences the "Verse Crown." They are receivers into which verses are
+set and serve as dividing lines in the production. As the reader knows,
+the portion of the ring which receives the gems and sets them into a
+harmonious whole is called the "Crown." Having borrowed the terms
+Solitaire, Doublet, etc., for the verses, the name for these
+introductory words and lines automatically became "Verse Crown."
+
+Just as I have figuratively termed the Supplements in one place "stage
+scenery," so I may with equal propriety term the "Verse Crown" the
+"rise" or the "fall" of the stage curtain. They separate the little Acts
+of the Rhymes into scenes. As an example read the comic little Rhyme "I
+Walked the Roads." The word "Well" to the first stanza marks the raising
+of the curtain and we see the ardent Negro boy lover nonsensically
+prattling to the one of his fancy about everything in creation until he
+is so tired that he can scarcely stand erect. The curtain drops and
+rises with the word "Den." In this, the second scene, he finally gets
+around to the point where he makes all manner of awkward protestations
+of love. The hearer of the Rhyme is left laughing, with a sort of
+satisfactory feeling that possibly he succeeded in his suit and possibly
+he didn't. Among the many examples of Rhymes where verse crowns serve as
+curtains to divide the Acts into scenes may be mentioned "I Wish I Was
+an Apple," "Rejected by Eliza Jane," "Courtship," "Plaster," "The Newly
+Weds," and "Four Runaway Negroes."
+
+Though the stanzas in Negro Rhymes commonly have just one kind of
+rhyming, in some cases as many as three of the systems of rhyming are
+found in one stanza. I venture to suggest the calling of those with one
+system "Simple Rhymed Stanzas;" those with two, "Complex Rhymed
+Stanzas;" those with more than two "Complicated Complex Rhymed Stanzas."
+
+I next call attention to the seeming parodies found occasionally among
+Negro Rhymes. The words of most Negro parodies are such that they are
+not fit for print. We have recorded three: "He Paid Me Seven," Parody on
+"Now I Lay Me Down to Sleep," and Parody on "Reign, Master Jesus,
+Reign." We can best explain the nature of the Negro Parody by taking
+that beautiful and touching well-known Jubilee song, "Steal Away to
+Jesus" and briefly recounting the story of its origin. Its history is
+well known. We hope the reader will not be disappointed when we say that
+this song is a parody in the sense in which Negroes composed and used
+parodies.
+
+The words around which the whole song ranges itself are "Steal away to
+Jesus, I hain't got long to stay here." Now the slave Negroes on the far
+away plantations of the South occasionally met in the dead of night in
+some secluded lonely spot for a religious meeting even when they had
+been forbidden to do so by their masters. So they made up this song,
+"Steal away to Jesus, I hain't got long to stay here." Late in the
+afternoons when the slaves on any plantation sang it, it served as a
+notice to slaves on other plantations that a secret religious meeting
+was to be held that night at the place formerly mutually agreed upon for
+meetings.
+
+Now here is where the parody comes in under the Negro standard: To the
+slave master the words meant that his good, obedient slaves were only
+studying how to be good and to get along peaceably, because they
+considered, after all, that their time upon earth was short and not of
+much consequence; but to the listening Negro it meant both a
+notification of a meeting and slaves disobedient enough to go where they
+wanted to go. To the listening master it meant that the Negro was
+thinking of what a short time it would be before he would die and leave
+the earth, but to the listening slaves it meant that he was thinking of
+how short a time it would be before he left the cotton field for a
+pleasant religious meeting. All these meanings were truly literally
+present but the meaning apparent depended upon the viewpoint of the
+listener. It was composed thus, so that if the master suspected the
+viewpoint of the slave hearers, the other viewpoint, intended for him,
+might be held out in strong relief.
+
+Now let us consider the parodies recorded in our Collection. The Parody
+on the beautiful little child prayer, "Now I lay me down to sleep" is
+but the bitter protest from the heart of the woman who, after putting
+the little white children piously repeating this child prayer, "Now I
+lay me down to sleep," in their immaculate beds, herself retired to a
+vermin infested cabin with no time left for cleaning it. It was a tirade
+against the oppressor but the comic, good-natured "It means nothing" was
+there to be held up to those calling the one repeating it to task. The
+parody on "Reign, Master Jesus, Reign!" when heard by the Master meant
+only a good natured jocular appeal to him for plenty of meat and bread,
+but with the Negro it was a scathing indictment of a Christian earthly
+master who muzzled those who produced the food. "He Paid Me Seven" is a
+mock at the white man for failing to practice his own religion but the
+clown mask is there to be held up for safety to any who may see the
+_real_ side and take offense.
+
+Slave parodies, then, are little Rhymes capable of two distinct
+interpretations, both of which are true. They were so composed that if a
+slave were accused through one interpretation, he could and would
+truthfully point out the other meaning to the accuser and thus escape
+serious trouble.
+
+Under all the classes of Negro Rhymes, with the exception of the one
+Marriage Ceremony Rhyme, there were those which were sung and played on
+instruments. Since instrumental music called into existence some of the
+very best among Negro Rhymes it seems as if a little ought to be said
+concerning the Negro's instruments. Banjos and fiddles (violins) were
+owned only limitedly by antebellum Negroes. Those who owned them
+mastered them to such a degree that the memory of their skill will long
+linger. These instruments are familiar and need no discussion.
+
+Probably the Negro's most primitive instrument, which he could call his
+very own, was "Quills." It is mentioned in the story, "Brother Fox,
+Brother Rabbit, and King Deer's Daughter" which I have already quoted at
+some length. If the reader will notice in this story he will see, after
+the singing of the first stanza by the rabbit and fox, a description in
+these words, "Den de quills and de tr'angle, dey come in, an' den Br'er
+Rabbit pursue on wid de call." Here we have described in the Negro's own
+way the long form of instrumental music composition which we have
+hitherto discussed, and "quills" and "tr'angles" are given as the
+instruments.
+
+In my early childhood I saw many sets of "Quills." They were short reed
+pipes, closed at one end, made from cane found in our Southern
+canebrakes. The reed pipes were made closed at one end by being so cut
+that the bottom of each was a node of the cane. These pipes were
+"whittled" square with a jack knife and were then wedged into a wooden
+frame, and the player blew them with his mouth. The "quills," or reed
+pipes, were cut of such graduated lengths that they constituted the
+Negro's peculiar music Scale. The music intervals though approximating
+those of the Caucasian scale were not the same. At times, when in a
+reminiscent humor, I hum to myself some little songs of my childhood. On
+occasions, afterwards, I have "picked out" some of the same tunes on the
+piano. When I have done this I have always felt like giving its
+production on the piano the same greeting that I gave a friend who had
+once worn a full beard but had shaved. My greeting was "Hello, friend A;
+I came near not knowing you."
+
+"Quills" were made in two sets. They were known as a "Little Set of
+Quills" and a "Big Set of Quills." There were five reeds in the Little
+Set but I do not know how many there were in a Big Set. I think there
+were more than twice as many as in a Little Set. I have inserted a cut
+of a Little Set of "Quills." (Figure I.) The fact that I was in the
+class of "The Little Boy Who Couldn't Count Seven" when I saw and
+handled quills makes it necessary to explain how it comes that I am sure
+of the number of "Quills" in a "Little Set." I recall the intricate tune
+that could be played only by the performer's putting in the lowest
+pitched note with his voice. I am herewith presenting that tune, and
+"blocking out" the voice note there are only five notes left, thus I
+know there were five "Quills" in the set. I thought a tune played on a
+"Big Set" might be of interest and so I am giving one of those also. If
+there be those who would laugh at the crudity of "Quills" it might not
+be amiss to remember in justice to the inventors that "Quills"
+constitute a pipe organ in its most rudimentary form.
+
+[Illustration: Figure I A LITTLE SET OF QUILLS]
+
+TUNE PLAYED ON A LITTLE SET OF QUILLS
+
+[music]
+
+TUNE PLAYED ON A BIG SET OF QUILLS
+
+[music]
+
+The "tr'angle" or triangle mentioned as the other primitive instrument
+used by the rabbit and fox in serenading King Deer's family was only the
+U-shaped iron clives which with its pin was used for hitching horses to
+a plow. The antebellum Negro often suspended this U-shaped clives by a
+string and beat it with its pin along with the playing on "Quills" much
+after the order that a drum is beaten. These crude instruments produced
+music not of unpleasant strain and inspired the production of some of
+the best Negro Rhymes.
+
+I would next consider for a little the origin of the subject matter
+found in Negro Rhymes. When the Negro sings "Master Is Six Feet One Way"
+or "The Alabama Way" there is no question where the subject matter came
+from. But when he sings of animals, calling them all "Brother" or
+"Sister," and "Bought Me a Wife," etc., the origin of the conception and
+subject matter is not so clear. I now come to the question: From whence
+came such subject matter?
+
+First of all, Mr. Joel Chandler Harris, in his introduction to "Nights
+with Uncle Remus," has shown that the Negro stories of our country have
+counterparts in the Kaffir Tales of Africa. He therefore leaves strong
+grounds for inference that the American Negroes probably brought the dim
+outlines of their Br'er Rabbit stories along with them when they came
+from Africa. I have already pointed out that some of the Folk Rhymes
+belong to these Br'er Rabbit stories. Since the origin of the subject
+matter of one is the origin of the subject matter of the other, it
+follows that we are reasonably sure of the origin of such Folk Rhymes
+because of the "counterpart" data presented by Mr. Harris. But I have
+been fortunate enough recently to secure direct evidence that one of the
+American Negro stories recorded by Mr. Harris came from Africa.
+
+While collecting our Rhymes, I asked Dr. C. C. Fuller of the South
+African Mission, at Chikore, Melsetter, Rhodesia, Africa, for an African
+Rhyme in Chindau. I might add parenthetically: I have never seen
+pictures of a cruder or more primitive people than these people who
+speak Chindau. He obtained and sent me the Rhyme "The Turkey Buzzard"
+found in our Foreign Section. It was given to him by the Reverend J. E.
+Hatch of the South African General Mission. Along with this rhyme came
+the following in his kind and obliging letter: "We thought the story of
+how the Crocodile got its scaly skin might be of interest also":
+
+"Why the Crocodile Has a Hard, Scaly Skin."
+
+"Long ago the Crocodile had a soft skin like that of the other animals.
+He used to go far from the rivers and catch animals and children and by
+so doing annoyed the people very much. So one day when he was far away
+from water, they surrounded him and set the grass on fire on every side,
+so that he could not escape to the river without passing through the
+fire. The fire overtook him and scorched and seared his back, so that
+from that day his skin has been hard and scaly, and he no longer goes
+far from the rivers."
+
+This is about as literal an outline of the American Negro story "Why the
+Alligator's Back is Rough" as one could have. The slight difference is
+that the direct African version mixes people in with the plot. This
+along with Mr. Harris's evidences practically establishes the fact that
+the Negro animal story outlines came with the Negroes themselves from
+Africa and would also render it practically certain that many animal
+rhymes came in the same way since these Rhymes in many cases accompany
+the stories.
+
+Then there are Rhymes, not animal Rhymes, which seem to carry plainly in
+their thought content a probable African origin. In the Rhyme, "Bought
+Me a Wife," there is not only the mentioning of buying a wife, but there
+is the setting forth of feeding her along with guineas, chickens, etc.,
+out under a tree. Such a conception does not fit in with American slave
+life but does fit into widely prevailing conditions found in Africa.
+
+Read the last stanza of "Ration Day," where the slave sings of going
+after death to a land where there are trees that bear fritters and where
+there are ponds of honey. Surely there is nothing in America to suggest
+such thoughts, but such thoughts might have come from Africa where
+natives gather their fruit from the bread tree and dip it into honey
+gathered from the forests.
+
+Read "When My Wife Dies." This is a Dance Rhyme Song. When the Rhymer
+chants in seemingly light vein in our hearing that he will simply get
+another wife when his wife dies, we turn away our faces in disgust, but
+we turn back almost amazed when he announces in the immediately
+succeeding lines that his heart will sorrow when she is gone because
+none better has been created among women. The dance goes on and we
+almost see grim Death himself smile as the Rhymer closes his Dance Song
+with directions not to bury him deep, and to put bread in his hand and
+molasses at his feet that he may eat on the way to the "Promised Land."
+
+If you had asked a Negro boy in the days gone by what this Dance Rhyme
+Song meant, he would have told you that he didn't know, that it was
+simply an old song he had picked up from somewhere. Thus he would go
+right along thoughtlessly singing or repeating and passing the Rhyme to
+others. The dancing over the dead and the song which accompanied it
+certainly had no place in American life. But do you ask where there was
+such a place? Get Dr. William H. Sheppard's "Presbyterian Pioneers in
+Congo" and read on page 136 the author's description of the behavior of
+the Africans in Lukenga's Land on the day following the death of one of
+their fellow tribesmen. It reads in part as follows: "The next day
+friends from neighboring villages joined with these and in their best
+clothes danced all day. These dances are to cheer up the bereaved family
+and to run away evil spirits." Dr. Sheppard also tells us that in one of
+the tribes in Africa where he labored, a kind of funnel was pushed down
+into the grave and down this funnel food was dropped for the deceased to
+feed upon. I have heard from other missionaries to other parts of Africa
+similar accounts. The minute you suppose the Rhyme "When My Wife Dies"
+to have had its origin in Africa, the whole thought content is
+explained. Of course the stanza concerning the pickling of the bones in
+alcohol is probably of American origin but I doubt not that the thought
+of the "key verses" came from Africa.
+
+These Rhymes whose thought content I have just discussed I consider only
+illustrative of the many Rhymes whose thought drift came from Africa.
+
+Many of the Folk Rhymes fall under the heading commonly denominated
+"Nature Rhymes." By actual count more than a hundred and fifty recorded
+by the writer have something in their stanzas concerning some animal. I
+do not think the makers of these Rhymes were makers of Nature Rhymes in
+the ordinary sense of the term. It would really be more to the point to
+call them "Animal Rhymes" instead of "Nature Rhymes." With the exception
+of about a half dozen Rhymes which mention some kind of tree or plant,
+all the other Rhymes with Nature allusions pertain to animals. The Uncle
+Remus stories recorded by Joel Chandler Harris are practically all
+animal stories. I have said in my foregoing discussion that the Negro
+communed with Nature and she gave him Rhymes for amusement. This is
+true, but when we say "communed" we simply express a vague intangible
+something the existence of which lives somewhere in a kind of mental
+fiction.
+
+Though I was brought up with the Rhymes I make no pretensions that I
+really know why so many of them were made concerning the animal world. I
+have heard no Negro tradition on this point. I have thought much on it
+and I now beg the reader to walk with me over the peculiar paths along
+which my mind has swept in its search for the truth of this mystery of
+Animal Rhyme.
+
+Before the great American Civil War the Negro slave preachers could
+not, as a class, read and they were taught their Bible texts by white
+men, commonly their owners. The texts taught them embraced most of the
+central truths of our Bible. The subjects upon which the antebellum
+Negro preached, however, were comparatively few. Of course a very few
+antebellum Negro preachers could read. In case of these individuals
+their texts and subjects were scarcely limited by the "lids" of the
+Bible. I heard scores of these men preach in my childhood days.
+
+The following subjects embrace about all those known to the average of
+these slave preachers. 1. Joshua. 2. Samson. 3. The Ark. 4. Jacob. 5.
+Pharaoh and Moses. 6. Daniel. 7. Ezekiel--vision of the valley of dry
+bones. 8. Judgment Day. 9. Paul and Silas in jail. 10. Peter. 11. John's
+vision on the Isle of Patmos. 12. Jesus Christ--his love and his
+miracles. 13. "Servants, obey your Masters."
+
+Now it is strange enough that the ignorant slave, while adopting his
+Master's religious topics, refused to adopt his hymns and proceeded to
+make his own songs and to cluster all these songs in thought around the
+Bible subjects with which he was acquainted. If the reader will get
+nearly any copy of Jubilee Songs he will find that the larger number
+group themselves about Jesus Christ and the others cluster about Moses,
+Daniel, Judgment Day, etc., subjects partially known and handled by the
+preachers in their sermons. There is just one exception. There is no
+Jubilee Song on "Servants, obey your Masters." We shall leave for the
+"feeble" imagination of the reader the reason why. The Negroes
+practically left out of their Jubilee Songs, Jeremiah, Job, Abraham,
+Isaac, Solomon, Samuel, Ezra, Mark, Luke, John, James, The Psalms, The
+Proverbs, etc., simply because these subjects did not fall among those
+taught them as preaching subjects.
+
+Now let us consider for a while the Negro's religion in Africa. Turning
+to Bettanny's "The World's Religions" we learn the following facts about
+aboriginal African worship.
+
+The Bushmen worshiped a Caddis worm and an antelope (a species of deer).
+The Damaras believed that they and all living creatures descended from a
+kind of tree and they worshiped that tree. The Mulungu worshiped
+alligators and lion-shaped idols. The Fantis considered snakes and many
+other animals messengers of spirits. The Dahomans worshiped snakes, a
+silk tree, a poison tree and a kind of ocean god whom they called Hu.
+
+Now turning our attention to Negro Folk Rhymes we find them clustering
+around the animals of aboriginal African Folk worship. The Negro stories
+recorded by Mr. Harris center around these animals also. In the Folk
+Rhyme "Walk Tom Wilson" our hero steps on an alligator. In "The Ark" the
+lion almost breaks out of his enclosure of palings. In one rhyme the
+snake is described as descended from the Devil and then the Devil
+figures prominently in many Rhymes. Then we have "Green Oak Tree
+Rocky-o" answering to the tree worship.
+
+I have placed in our collection of Rhymes a small foreign section
+including African Rhymes. I have recorded precious few but those few are
+enough to show two things. (1) That the Negro of savage Africa has the
+rhyme-making habit and probably has always had it, and thus the American
+Negro brought this habit with him to America. (2) That a small handful
+from darkest Africa contains stanzas on the owl, the frog, and the
+turkey buzzard just like the American rhymes.
+
+Knowing that the Negro made rhymes in Africa, and knowing that he
+centered his Jubilee Song words around his American Christian religion,
+is it not reasonable to suppose that he centered his secular or African
+Rhymes around his African religion? He must have done so unless he
+changed all his rhyme-making habits after coming to America, for he
+certainly clustered his American verse largely around his religion.
+Assuming this to be true the large amount of animal lore in Negro rhyme
+and story is at once explained.
+
+Possibly the greatest hindrance to one's coming to this conclusion is
+the fact that the Rabbit and some other animals found in Negro rhyme and
+story do not appear in the records among those worshiped by aboriginal
+Africans. The known record of the Africans' early religion covers only a
+very few pages. Christians have not been willing to spend any time to
+speak of in investigating the religions of the primitive and the lowly.
+Thus if these animals were widely worshiped it would not be strange if
+we should never have heard of it. Let us consider what is known,
+however.
+
+Taking up the matter of the rabbit Mr. John McBride, Jr., had a very
+fine and lengthy discussion on "Br'er Rabbit in the Folk Tales of the
+Negro and other Races" in _The Sewanee Review_, April, 1911. On page 201
+of that journal's issue we find these words: "Among the Hottentots, for
+example, there is a story in which the hare appears in the moon and of
+which several versions are extant. The story goes that the moon sent the
+hare to the earth to inform men that, as she died away and rose again,
+so should all men die and again come to life," etc. I drop the story
+here because so much of it suffices my purpose. It brings out the fact
+that the African here had probably truly considered the Rabbit as a
+messenger of the moon. Now the fact that the Hottentots were thus
+talking in lore of receiving messages concerning immortality from the
+moon means there must have been at least a time in their history when
+they considered the Moon a kind of super-being, a kind of god.
+
+I quote again from Dr. Sheppard's "Presbyterian Pioneers in Congo," page
+113. "King Lukenga offers up a sacrifice of a goat or lamb on every new
+moon. The blood is sprinkled on a large idol in his own fetich house, in
+the presence of all his counselors. This sacrifice is for the
+healthfulness of all the King's country, for the crops," etc.
+
+I think after considering the foregoing one will see that there are
+those of Africa who connect their worship with the moon. We learn also
+that there are those who claim the rabbit to be the moon's messenger.
+From this, if we should accept the theory for Animal Rhymes advanced, we
+would easily see why the rabbit as a messenger of a god or gods would
+figure so largely in Rhyme and in story. We also would easily see how
+and why as a messenger of a god he would become "Brother Rabbit." If one
+will read the little Rhyme "Jaybird" he will notice that the rhymer
+places the intelligence of the rabbit above his own. Our theory accounts
+for this.
+
+I would next consider the frog, but I imagine I hear the reader saying:
+"That is not a beginning. How about your bear, terrapin, wolf, squirrel,
+etc.?"
+
+Seeing that I am faced by so large an array of animals, I beg the reader
+to walk with me through just one more little path of thought and with
+his consent I shall leave the matter there.
+
+We see, in two of our African Rhymes, lines on a buzzard and an owl; yet
+these African natives do not worship these birds. The American Negro
+children of my childhood repeated Folk Rhymes concerning the rabbit, the
+fox, etc., without any thought whatever of worshiping them. These
+American children had received the whole through dim traditional rhymes
+and stories and engaged in passing them on to others without any special
+thought. The uncivilized and the unlettered hand down everything by word
+of mouth. Religion, trades, superstition, medicine, sense, and nonsense
+all flow in the same stream and from this stream all is drunk down
+without question. If therefore the Negro's rhyme-clustering habit in
+America was the same as it had ever been and the centering of rhymes
+about animals is due to a former worship of them in Africa, the verses
+would include not only the animals worshiped in modern Africa but in
+ancient Africa. The verses would take in animals included in any
+accepted African religion antedating the comparatively recent religions
+found there.
+
+The Bakuba tribe have a tradition of their origin. Quoting from Dr.
+Sheppard's book again, page 114, we have the following: "From all the
+information I can gather, they (the Bakuba) migrated from the far North,
+crossed rivers and settled on the high table land." Here is one
+tradition, standing as a guide post, with its hand pointing toward
+Egypt. A one fact premise practically never forms a safe basis for a
+conclusion, but when we couple this tradition with the fact that, so far
+as we know, men originated in Southwest Asia and therefore probably came
+into Africa by way of the Isthmus of Suez, I think the case of the
+Bakuba hand pointing toward a near Egyptian residence a strong one. Now
+turn to your Encyclopedia Britannica, Vol. X, ninth edition, with
+American revisions and additions, to the article on "Glass," page 647.
+Near the bottom of the second column on that page we read: "The
+Phoenicians probably derived this knowledge of the art (of glass making)
+from Egypt. * * * It seems probable that the earliest products of the
+industry of Phoenicia in the art of glass making are the colored beads
+which have been found in almost all parts of Europe, in India, and other
+parts of Asia, and in _Africa_. The "aggry" beads so much valued by the
+_Ashantees and other natives_ of that part of Africa which lies near the
+Gold Coast, have _probably_ the same origin. * * * Their wide dispersion
+may be referred with much probability to their having been objects of
+barter between the Phoenician merchants and the barbarous inhabitants of
+the various countries with which they traded." Here are evidences, then,
+that the African in his prehistoric days traded with somebody who
+bartered in beads of Phoenician or Egyptian make. I say Egyptian or
+Phoenician because if the Phoenicians got this art from the Egyptians I
+think it would be very difficult for those who lived thousands of years
+afterward to be sure in which country a specific bead was made, the art
+as practiced by one country being a kind of copy of the art as practiced
+in the other country. With the historic record that the Phoenicians were
+the great traders of the Ancient World our writers attributed the
+carrying of the beads into Africa, among the natives, to the
+Phoenicians. Without questioning these time-honored conclusions, we do
+know that Egyptian caravans still make journeys into the interior of
+Africa for the purpose of trade. Shall we think this trading practice on
+the part of Egypt in Africa one of recent origin or probably one that
+runs back through the centuries? I see no reason for believing this
+trading custom to be other than an ancient one. If the ancient Egyptians
+traded with the surrounding Africans and these Africans gradually
+migrated South, as is stated in the Bakuba tradition, the whole matter
+of how all kinds of animals got mixed into Negro Folk Rhymes by custom
+becomes clear. It also will explain how animal worship got scattered
+throughout Africa, for it is the unbroken history of the world that
+traders of a race superior in attainment always somehow manage to carry
+along their religion to the race inferior in attainment. The religious
+emissaries generally follow along in the wake of the traders. If we make
+the assumption, on the foregoing grounds, that the very ancient African
+Negro got in touch with the religion of Ancient Egypt, then the
+appearance of the frog, birds, etc., in Negro Rhyme is explained, for if
+we read the lists of animal gods of Ancient Egypt and the animal states
+through which spirits were supposed to pass, we have no trouble finding
+the list of animals extolled in Negro rhyme and story.
+
+If Negro Rhyme has always centered about Negro religion, then when the
+Negro was brought to America and began changing his religion, he should
+have had some songs or rhymes on the dividing line between the old and
+the new. In other words, there ought to be connecting links between
+"secular" Folk Rhymes and Jubilee Songs, songs that by nature partake of
+both types. This must happen in order to be in accord with the law of
+the presence of connecting links where evolution produces a new type
+from an old one. By using the procedure under Mendel's law of mating
+like descendants from a cross between two and by eliminating those who
+do not reproduce constant to the type which we are trying to produce, we
+can produce a new and constant type in the third succeeding generation
+of descendants.
+
+Now the Negro slave turned quickly in America from heathenism to
+Christianity. This was accomplished through white Christians correcting
+and eliminating all thoughts and productions which hovered on the border
+line between heathen ideals and Christianity. They used the Mendelian
+procedure of eliminating all crosses that did not give a product with
+Christian characteristics and thus necessarily eliminated Rhymes or
+songs of the connecting link type. They did a good thorough job but the
+writer believes he sees two connecting links that escaped their
+sensitive ears and sharp eyes. They are Jubilee songs; one is "Keep
+inching along like a poor inch worm, Jesus will come by-and-by," the
+other is "Go chain the lion down before the Heaven doors close."
+
+The reader will recall that I have already shown that the worm and the
+lion were connected with native African worship. Of course we all know
+quite well that a "Caddis worm" is not an "Inch worm," but for a man
+trying to turn from the old to the new, from idolatry to Christianity, a
+closer relation than this might not be very comfortable neutral ground.
+
+The following Folk Rhymes found in our collection might also pass for
+connecting links: "Jawbone," "Outrunning the Devil," "How to Get to
+Glory Land," "The Ark," "Destinies of Good and Bad Children," "How to
+Keep or Kill the Devil," "Ration Day," and "When My Wife Dies." The
+superstitions of the Negro Rhymes are possibly only fossils left in one
+way or another by ancient native African worship.
+
+In a few Rhymes the vice of stealing is either laughed at, or
+apparently laughed at. Such Rhymes carry on their face a strictly
+American slave origin. An example is found in "Christmas Turkey." If one
+asks how I know its origin to be American, the answer is that the native
+African had no such thing as Christmas and turkeys are indigenous to
+America. In explanation of the origin of these "stealing" Rhymes I would
+say that it was never the Negro slave's viewpoint that his hard-earned
+productions righteously belonged to another. His whole viewpoint in all
+such cases, where he sang in this kind of verse, is well summed up in
+the last two lines of this little Rhyme itself:
+
+    "I tuck mysef to my tucky roos',
+    An' I brung _my_ tucky home."
+
+To the Negro it was his turkey. This was the Negro slave view and
+accounts for the origin and evolution of such verse. We leave to others
+a fair discussion of the ethics and a righteous conclusion; only asking
+them in fairness to conduct the discussion in the light of slave
+conditions and slave surroundings.
+
+In a few of the Folk Rhymes one stanza will be found to be longer than
+any of the others. Now as to the origin of this, in the case of those
+sung whose tunes I happen to know, the long stanza was used as a kind
+of chorus, while the other stanzas were used as song "verses." I
+therefore think this is probably true in all cases. The reader will note
+that the long stanza is written first in many cases. This is because the
+Negro habitually begins his song with the Chorus, which is just the
+opposite to the custom of the Caucasian who begins his ordinary songs
+with the verse. This appears then to be the possible genesis of stanzas
+of unequal length.
+
+I have written this little treatise on the use, origin, and evolution of
+the Negro Rhyme with much hesitation. I finally decided to do it only
+because I thought a truthful statement of fact concerning Negro Folk
+Rhymes might prove a help to those who are expert investigators in the
+field of literature and who are in search of the origin of all Folk
+literature and finally of all literature. The Negro being the last to
+come to the bright light of civilization has given or probably will give
+the last crop of Folk Rhymes. Human processes being largely the same, I
+hope that my little personal knowledge of the Negro Rhymes may help
+others in the other larger literary fields.
+
+I am hoping that it may help and I am penning the last strokes to record
+my sincere desire that it may in no way hinder.
+
+
+
+
+GENERAL INDEX
+
+
+PART I
+
+                                                    PAGE
+
+  A. B. C.,                                          154
+
+  Alabama Way, The,                                  164
+
+  Anchor Line,                                        87
+
+  Animal Attire,                                     158
+
+  Animal Fair,                                       159
+
+  Animal Persecutors,                                205
+
+  Antebellum Courtship Inquiry,                      135
+
+  Antebellum Marriage Proposal,                      137
+
+  Are You Careful,                                   203
+
+  Ark, The,                                           44
+
+  As I Went to Shiloh,                                13
+
+  Aspiration,                                        159
+
+  Aunt Dinah Drunk,                                   53
+
+  Aunt Jemima,                                       107
+
+  Awful Harbingers,                                  149
+
+
+  Baa! Baa! Black Sheep,                              27
+
+  Baby Wants Cherries,                               181
+
+  Bad Features,                                      100
+
+  Banjo Picking, The,                                 21
+
+  Bat! Bat!                                          202
+
+  Bedbug,                                             96
+
+  Bitter Lovers' Quarrel, A,                         127
+
+  Black-eyed Peas For Luck,                          200
+
+  Blessings,                                         204
+
+  Blindfold Play Chant,                               73
+
+  Bob-White's Song,                                  155
+
+  Bought Me a Wife,                                  145
+
+  Brag and Boast,                                    213
+
+  Bridle up a Rat,                                   157
+
+  Bring on your Hot Corn,                             29
+
+  Brother Ben and Sister Sal,                         46
+
+  Buck and Berry,                                    172
+
+  Buck-eyed Rabbit! Whoopee!,                        175
+
+  Budget, A,                                          79
+
+  Bull Frog Put on the Soldier Clothes,               20
+
+  Butterfly,                                         182
+
+
+  Captain Coon,                                      176
+
+  Captain Dime,                                        5
+
+  Care in Bread-making,                              112
+
+  Caught by the Witch Play,                           74
+
+  Chicken in the Bread Tray,                           7
+
+  Chicken Pie,                                        69
+
+  Children's Seating Rhyme,                          179
+
+  Christmas Turkey,                                   98
+
+  Chuck Will's Widow Song,                           156
+
+  Clandestine Letter, A,                             136
+
+  Coffee Grows on White Folks' Trees,                107
+
+  College Ox, The,                                   112
+
+  Cooking Dinner,                                    156
+
+  Cotton-eyed Joe,                                    32
+
+  Courting Boy, The,                                 141
+
+  Courtship,                                         138
+
+  Cow Needs a Tail in Fly-time, The,                  35
+
+  Crooked Nose Jane,                                  99
+
+  Crossing a Foot-Log,                               109
+
+  Crossing the River,                                  6
+
+
+  Day's Happiness, A,                                125
+
+  Deedle, Dumpling,                                  171
+
+  Destinies of Good and Bad Children,                200
+
+  Destitute Former Slave Owners,                      97
+
+  Devilish Pigs,                                      24
+
+  Did You Feed My Cow?                                78
+
+  Die in the Pig-Pen Fighting,                        39
+
+  Dinah's Dinner Horn,                                18
+
+  Do I Love You?                                     129
+
+  Does Money Talk?,                                  113
+
+  Don't Ask Me Questions,                             63
+
+  Don't Sing before Breakfast,                       186
+
+  Don't Tell All You Know,                           214
+
+  Doodle-Bug,                                        174
+
+  Down in the Lonesome Garden,                        89
+
+  Drinking Razor Soup,                               211
+
+
+  Elephant, The,                                     116
+
+  End of Ten Little Negroes, The,                    163
+
+
+  Fattening Frogs for Snakes,                         97
+
+  Fed From the Tree of Knowledge,                    212
+
+  Few Negroes by States, A,                          117
+
+  Fine Plaster, A,                                   124
+
+  Fishing Simon,                                     177
+
+  Flap-jacks,                                        196
+
+  Forty-four,                                         71
+
+  Four Runaway Negroes; Whence They Came,            205
+
+  Fox and Geese,                                      40
+
+  Fox and Geese Play,                                 73
+
+  Fox and Rabbit Drinking Propositions,              111
+
+  Frightened Away from a Chicken-Roost,               95
+
+  Frog in a Mill (Guinea or Ebo Rhyme),              167
+
+  Frog Went a-Courting,                              190
+
+  From Slavery,                                      162
+
+  Full Pocketbook, A,                                 99
+
+
+  Getting Ten Negro Boys Together,                   184
+
+  Go to Bed,                                         175
+
+  Going To Be Good Slaves,                           101
+
+  Good-by, Ring,                                     171
+
+  Good-by, Wife!,                                    148
+
+  Gooseberry Wine,                                    41
+
+  Goosie-Gander Play Rhyme,                           75
+
+  Grasshopper Sense,                                 169
+
+  Grasshopper Sitting on a Sweet Potato Vine,        173
+
+  Gray and Black Horses,                              45
+
+  Great Owl's Song, The,                             151
+
+  Green Oak Tree! Rocky-o!,                           81
+
+  Guinea Gall,                                       176
+
+
+  Half Way Doings,                                   120
+
+  Ham Beats all Meat,                                 67
+
+  Harvest Song,                                       57
+
+  Hated Blackbird and Crow, The,                     183
+
+  Hawk and Buzzard,                                   75
+
+  Hawk and Chickens,                                 185
+
+  Hawk and Chickens Play,                             74
+
+  He Is My Horse,                                     16
+
+  He Loves Sugar and Tea,                             84
+
+  He Paid Me Seven (Parody),                         122
+
+  He Will Get Mr. Coon,                               28
+
+  Hear-say,                                          114
+
+  Here Comes a Young Man Courting,                    85
+
+  Here I Stand,                                      153
+
+  Hoecake,                                            49
+
+  How to Get to Glory Land,                           96
+
+  How to Keep or Kill The Devil,                     104
+
+  How to Make it Rain,                               101
+
+  How to Plant and Cultivate Seeds,                  208
+
+  How to Please a Preacher,                          117
+
+  Hunting Camp, The,                                  43
+
+
+  I am not Going to Hobo Any More,                    70
+
+  I Love Somebody,                                    51
+
+  I Walked the Roads,                                139
+
+  I Went down the Road,                               50
+
+  I Wish I Was an Apple,                             133
+
+  I Would not Marry a Black Girl,                     56
+
+  I Would not Marry A Yellow Or A White Negro Girl,   63
+
+  I'd rather Be a Negro than a Poor White Man,        42
+
+  I'll Eat When I'm Hungry,                          114
+
+  I'll Get You, Rabbit!,                             116
+
+  I'll Wear Me a Cotton Dress,                       118
+
+  I'm a "Round-Town" Gentleman,                      108
+
+  If You Frown,                                      137
+
+  In '76,                                            178
+
+  In a Mulberry Tree,                                158
+
+  In a Rush,                                         183
+
+  Independent,                                       209
+
+  Indian Flea,                                        12
+
+  Invited to Take the Escort's Arm,                  135
+
+  It Is Hard to Love,                                132
+
+
+  Jack and Dinah Want Freedom,                       215
+
+  Jackson, Put that Kettle On!,                       17
+
+  Jawbone,                                            12
+
+  Jaybird,                                            14
+
+  Jaybird Died with the Whooping Cough,               36
+
+  Joe and Malinda Jane,                                4
+
+  John Henry,                                        105
+
+  Johnny Bigfoot,                                     93
+
+  Jonah's Band Party,                                  1
+
+  Juba,                                                9
+
+  Judge Buzzard,                                      16
+
+  Jump Jim Crow,                                      13
+
+
+  Kept Busy,                                         109
+
+  Kissing Song,                                       82
+
+  Kneel on This Carpet,                               82
+
+
+  Last of Jack, The,                                 149
+
+  Learn to Count,                                    207
+
+  "Let's Marry" Courtship,                           138
+
+  Likes and Dislikes,                                 76
+
+  Little Boy Who Couldn't Count Seven,               160
+
+  Little Dogs,                                       150
+
+  Little Negro Fly, The,                             199
+
+  Little Pickaninny, A,                              186
+
+  Little Red Hen,                                     37
+
+  Little Rooster, The,                                29
+
+  Little Sister, Won't You Marry Me?                  90
+
+  Little Sleeping Negroes,                           187
+
+  Looking for a Fight,                               118
+
+  Love Is Just a Thing of Fancy,                       2
+
+  Lovers' Good-night,                                129
+
+
+  Mamma's Darling,                                   188
+
+  Man of Words, A,                                   208
+
+  Master is Six Feet One Way,                         40
+
+  Master Killed a Big Bull,                          126
+
+  Master's "Stolen" Coat, The,                        62
+
+  Me and my Lover,                                   132
+
+  Miss Blodger,                                      199
+
+  Miss Slippy Sloppy,                                100
+
+  Miss Terrapin and Miss Toad,                       162
+
+  Molly Cottontail,                                    8
+
+  Mother Says I am Six Years Old,                    164
+
+  Mourning Slave Fiancees,                           129
+
+  Mud-Log Pond,                                      185
+
+  Mule's Kick, The,                                   98
+
+  Mule's Nature, The,                                108
+
+  My Baby,                                           180
+
+  My Dog, Cuff,                                      150
+
+  My Fiddle,                                          39
+
+  My First and my Second Wife,                       147
+
+  My Folks and your Folks,                           187
+
+  My Little Pig,                                     157
+
+  My Mule,                                            19
+
+  My Speckled Hen,                                   170
+
+  My Wonderful Travel,                                55
+
+  Mysterious Face Washing,                           174
+
+
+  Nashville Ladies, The,                             106
+
+  Negro and the Policeman, The,                       66
+
+  Negro Baker Man,                                   154
+
+  Negro Soldier's Civil War Chant,                   115
+
+  Negroes Never Die,                                  11
+
+  Nesting,                                           180
+
+  Newly Weds, The,                                   144
+
+  No Room to Poke Fun,                                99
+
+  Nobody Looking,                                     48
+
+
+  Off from Richmond,                                  15
+
+  Old Aunt Kate,                                     179
+
+  Old Black Gnats, The,                               80
+
+  Old Gray Mink,                                      33
+
+  Old Hen Cackled, The,                               50
+
+  Old Man Know-all,                                  211
+
+  Old Molly Hare,                                     22
+
+  Old Section Boss, The,                              64
+
+  Old Woman in the Hills, The,                        54
+
+  On Top of the Pot,                                  10
+
+  Opossum Hunt, An,                                   23
+
+  Origin of the Snake, The,                          165
+
+  Our Old Mule,                                      112
+
+  Outrunning the Devil,                              103
+
+
+  Page's Geese,                                      102
+
+  Parody--He Paid Me Seven,                          122
+
+  Parody on "Now I Lay Me Down to Sleep",            115
+
+  Parody on "Reign, Master Jesus! Reign!",           122
+
+  Paying Debts with Kicks,                           184
+
+  Peep Squirrel,                                      78
+
+  Periwinkle,                                        201
+
+  Pig Tail,                                          153
+
+  Plaster,                                            60
+
+  'Possum up the Gum Stump,                            3
+
+  Precious Things,                                    84
+
+  Presenting a Hat to Phoebe,                        140
+
+  Pretty Little Girl,                                172
+
+  Pretty Little Pink,                                127
+
+  Pretty Pair of Chickens, A,                        181
+
+  Pretty Polly Ann,                                  142
+
+  Promises of Freedom,                                25
+
+
+  Rabbit Hash,                                       203
+
+  Rabbit Soup,                                        33
+
+  Raccoon and Opossum Fight,                          31
+
+  Race-starter's Rhyme, A,                           180
+
+  Raise a "Rucus" To-night,                           90
+
+  Randsome Tantsome,                                 202
+
+  Rascal, The,                                       106
+
+  Ration Day,                                         38
+
+  Rattler,                                            46
+
+  Raw Head and Bloody Bones,                         174
+
+  Redhead Woodpecker,                                178
+
+  Rejected by Eliza Jane,                            134
+
+  Request to Sell, A,                                123
+
+  Roses Red,                                         128
+
+  Run, Nigger, Run!,                                  34
+
+
+  Sail Away, Ladies!,                                 20
+
+  Sallie,                                             87
+
+  Salt-rising Bread,                                  83
+
+  Sam Is a Clever Fellow,                            151
+
+  Satan,                                              93
+
+  Self-control,                                      213
+
+  Sex Laugh,                                         102
+
+  Shake the Persimmons Down,                          34
+
+  She Hugged Me and Kissed Me,                       131
+
+  Sheep and Goat,                                     17
+
+  Sheep Shell Corn,                                   59
+
+  Shoo! Shoo!,                                       196
+
+  Short Letter, A,                                   113
+
+  Sick Wife, A,                                       55
+
+  Simon Slick's Mule,                                 47
+
+  Slave Marriage Ceremony Supplement,                143
+
+  Snail's Reply, The,                                170
+
+  Song to the Runaway Slave,                          88
+
+  Sparking or Courting,                              136
+
+  Speak Softly,                                      214
+
+  Stand Back, Black Man,                              10
+
+  Stealing a Ride,                                   188
+
+  Stick-a-ma-stew,                                   155
+
+  Still Water Creek,                                   2
+
+  Still Water Runs Deep,                             214
+
+  Strange Brood, A,                                  166
+
+  Strange Family, A,                                 171
+
+  Strange Old Woman, A,                              178
+
+  Strong Hands,                                      167
+
+  Sugar in Coffee,                                    30
+
+  Sugar Loaf Tea,                                     81
+
+  Susan Jane,                                         77
+
+  Susie Girl,                                         76
+
+  Suze Ann,                                           68
+
+  Sweet Pinks and Roses,                              92
+
+
+  Tails,                                               5
+
+  Taking a Walk,                                     183
+
+  Teaching Table Manners,                            197
+
+  Temperance Rhyme,                                  209
+
+  That Hypocrite,                                    210
+
+  "They Steal" Gossip,                               110
+
+  This Sun is Hot,                                   108
+
+  Thrifty Slave, The,                                 94
+
+  To Win a Yellow Girl,                              102
+
+  Tongue, The,                                       212
+
+  Too Much Watermelon,                               182
+
+  Town Bird and the Country Bird, The,               166
+
+  Training the Boy,                                  201
+
+  Tree Frogs (Guinea or Ebo Rhyme),                  168
+
+  Turkey Funeral, A,                                 111
+
+  T-U-Turkey,                                          6
+
+  Turtle's Song, The,                                 30
+
+  Two Sick Negro Boys,                               173
+
+  Two Times One,                                     121
+
+
+  Uncle Jerry Fants,                                 109
+
+  Uncle Ned,                                          61
+
+
+  Vinie,                                             130
+
+
+  Walk, Talk, Chicken with your Head Pecked,           4
+
+  Walk, Tom Wilson,                                   68
+
+  Wanted: Cornbread and Coon,                         37
+
+  War is On, The,                                    207
+
+  Washing Mamma's Dishes,                            189
+
+  Watermelon Preferred,                              110
+
+  We Are "All the Go",                                52
+
+  We'll Stick to the Hoe,                            123
+
+  What Will We Do for Bacon?,                        185
+
+  When I Go to Marry,                                144
+
+  When I Was a Little Boy,                           168
+
+  When I Was a Roustabout,                           145
+
+  When My Wife Dies,                                  26
+
+  Why Look at Me,                                    113
+
+  Why the Woodpecker's Head Is Red,                  203
+
+  Wild Hog Hunt,                                     165
+
+  Wild Negro Bill,                                    94
+
+  Willie Wee,                                        189
+
+  Wind Bag, A,                                       101
+
+  Wooing,                                            140
+
+
+  Year of Jubilee,                                    58
+
+  You Had Better Mind Master,                        126
+
+  You Have Made Me Weep,                             128
+
+  You Love your Girl,                                 95
+
+  Young Master and Old Master,                       169
+
+
+FOREIGN SECTION INDEX
+
+  _African Rhymes_
+
+    Byanswahn-Byanswahn,                             219
+    Near Waldo Teedo o mah nah mejai,                216
+    Sai Boddeoh Sumpun Komo,                         218
+    The Frogs,                                       220
+    The Owl,                                         217
+    The Turkey Buzzard,                              220
+    Tuba Blay,                                       217
+
+  _A Philippine Island Rhyme_,                       227
+
+  _Trinidad Rhymes_
+
+    A Tom Cat,                                       226
+    Un Belle Marie Coolie,                           225
+
+  _Jamaica Rhyme_
+
+    Buscher Garden,                                  222
+
+  _Venezuelan Rhymes_
+
+    A "Would Be" Immigrant,                          224
+    Game Contestants' Song,                          223
+
+
+PART II
+
+A Study in Negro Folk Rhymes, 228
+
+
+
+
+COMPARATIVE STUDY INDEX
+
+
+_Love Songs_
+
+  Bitter Lovers' Quarrel; One Side,                  127
+
+  Courting Boy, The,                                 141
+
+  It Is Hard to Love,                                132
+  I Wish I Was an Apple,                             133
+
+  Lovers' Good-night,                                129
+
+  Me and my Lover,                                   132
+  Mourning Slave Fiancees,                           129
+
+  Pretty Polly Ann,                                  142
+
+  Rejected by Eliza Jane,                            134
+  Roses Red,                                         128
+
+  She Hugged Me and She Kissed Me,                   131
+
+  Vinie,                                             130
+
+  Wooing,                                            140
+
+  You Have Made Me Weep,                             128
+  You Love your Girl,                                 95
+
+
+_Dance Songs_
+
+  Ark, The,                                           44
+  Aunt Dinah Drunk,                                   53
+
+  Baa! Baa! Black Sheep,                              27
+  Banjo Picking,                                      21
+  Brother Ben and Sister Sal,                         46
+  Bull Frog Put on the Soldier Clothes,               20
+
+  Chicken Pie,                                        69
+  Cotton-eyed Joe,                                    32
+  Cow Needs a Tail in Fly-time, The,                  35
+
+  Devilish Pigs,                                      24
+  Die in the Pig-Pen Fighting,                        39
+  Dinah's Dinner Horn,                                18
+  Don't Ask Me Questions,                             63
+
+  Forty-four,                                         71
+  Fox and Geese,                                      40
+
+  Gooseberry Wine,                                    41
+  Gray and Black Horses,                              45
+
+  Ham Beats All Meat,                                 67
+  He Is my Horse,                                     16
+  Hoecake,                                            49
+
+  I am not Going to Hobo Any More,                    70
+  I Love Somebody,                                    51
+  I Went down the Road,                               50
+  I Would not Marry a Black Girl,                     56
+  I Would not Marry a Yellow or a White Negro Girl,   63
+  I'd rather Be a Negro than a Poor White Man,        42
+
+  Jack and Dinah Want Freedom,                       215
+  Jaybird,                                            14
+  Jaybird Died with the Whooping Cough,               36
+
+  Little Red Hen,                                     37
+  Little Rooster, The,                                29
+
+  Master is Six Feet One Way,                         40
+  Master's "Stolen Coat," The,                        62
+  My Fiddle,                                          39
+  My Mule,                                            19
+  My Wonderful Travel,                                55
+
+  Negro and the Policeman, The,                       66
+  Nobody Looking,                                     48
+
+  Off from Richmond,                                  15
+  Old Gray Mink,                                      33
+  Old Hen Cackled, The,                               50
+  Old Molly Hare,                                     22
+  Old Section Boss, The,                              64
+  Old Woman in the Hills, The,                        54
+  Opossum Hunt, An,                                   23
+
+  Plaster,                                            60
+  'Possum up the Gum Stump,                            3
+  Promises of Freedom,                                25
+
+  Rabbit Soup,                                        33
+  Raccoon and Opossum Fight,                          31
+  Ration Day,                                         38
+  Rattler,                                            46
+  Run, Nigger, Run!                                   34
+
+  Sail Away, Ladies!                                  20
+  Shake the Persimmons Down,                          34
+  Sheep and Goat,                                     17
+  Sheep Shell Corn,                                   59
+  Sick Wife, A,                                       55
+  Simon Slick's Mule,                                 47
+  Sugar in Coffee,                                    30
+  Suze Ann,                                           68
+
+  Uncle Ned,                                          61
+
+  Walk, Tom Wilson,                                   68
+  Wanted: Cornbread and Coon,                         37
+  We Are "All the Go",                                52
+  When My Wife Dies,                                  26
+
+  Year of Jubilee,                                    58
+
+
+_Animal and Nature Lore_
+
+  Animal Attire,                                     158
+  Animal Fair,                                       159
+  Animal Persecutors,                                205
+  Awful Harbingers,                                  149
+
+  Bob-White's Song,                                  155
+  Bridle Up a Rat,                                   157
+  Buck and Berry,                                    172
+  Buck-eyed Rabbit! Whoopee!                         175
+
+  Chuck Will's Widow Song,                           156
+
+  Frog in a Mill,                                    167
+  Frog Went a-Courting,                              190
+  Full Pocketbook, A,                                 99
+
+  Great Owl's Song,                                  151
+
+  Jaybird,                                            14
+  Judge Buzzard,                                      16
+
+  Last of Jack, The,                                 149
+  Little Dogs,                                       150
+
+  Man of Words, A,                                   208
+  Miss Terrapin and Miss Toad,                       162
+  Molly Cottontail,                                    8
+  My Dog, Cuff,                                      150
+  My Speckled Hen,                                   170
+
+  Old Molly Hare,                                     22
+  Origin of the Snake, The,                          165
+
+  Snail's Reply, The,                                170
+  Strange Brood, A,                                  166
+
+  Tails,                                               5
+  Town Bird and the Country Bird, The,               166
+  Turtle's Song, The,                                 30
+
+  Why the Woodpecker's Head is Red,                  203
+
+
+_Nursery Rhymes_
+
+  A. B. C.,                                          154
+  Alabama Way, The,                                  164
+  Animal Fair,                                       159
+  Are You Careful?,                                  203
+  Aspiration,                                        159
+  Awful Harbingers,                                  149
+
+  Baby Wants Cherries,                               181
+  Bat! Bat!,                                         202
+  Black-eyed Peas for Luck,                          200
+  Blessings,                                         204
+  Bob-White's Song,                                  155
+  Buck-eyed Rabbit! Whoopee!,                        175
+  Butterfly,                                         182
+
+  Captain Coon,                                      176
+  Children's Seating Rhyme,                          179
+  Chuck Will's Widow Song,                           156
+  Cooking Dinner,                                    156
+  Crossing the River,                                  6
+
+  Deedle, Dumpling,                                  171
+  Destinies of Good and Bad Children,                200
+  Did You Feed My Cow?,                               78
+  Don't Sing before Breakfast,                       186
+  Doodle-Bug,                                        174
+
+  End of Ten Little Negroes, The,                    163
+
+  Fishing Simon,                                     177
+  Flap-jacks,                                        196
+  Four Runaway Negroes; Whence They Came,            205
+  Frog Went a-Courting,                              190
+  From Slavery,                                      162
+
+  Getting Ten Negro Boys Together,                   184
+  Go to Bed,                                         175
+  Good-by, Ring,                                     171
+  Grasshopper Sitting on a Sweet Potato Vine,        173
+  Grasshopper-Sense,                                 169
+  Great Owl's Song, The,                             151
+  Guinea Gall,                                       176
+
+  Hated Blackbird and Crow, The,                     183
+  Hawk and Chickens,                                 185
+  Here I Stand,                                      153
+
+  In '76,                                            178
+  In a Mulberry Tree,                                158
+  In a Rush,                                         183
+
+  Judge Buzzard,                                      16
+
+  Little Boy Who Couldn't Count Seven,               160
+  Little Dogs,                                       150
+  Little Negro Fly, The,                             199
+  Little Pickaninny, A,                              186
+  Little Sleeping Negroes,                           187
+
+  Mamma's Darling,                                   188
+  Miss Blodger,                                      199
+  Miss Terrapin and Miss Toad,                       162
+  Mother Says I am Six Years Old,                    164
+  Mud-Log Pond,                                      185
+  My Baby,                                           180
+  My Dog, Cuff,                                      150
+  My Folks and your Folks,                           187
+  My Little Pig,                                     157
+  My Speckled Hen,                                   170
+  Mysterious Face Washing,                           174
+
+  Negro Baker Man,                                   154
+  Nesting,                                           180
+
+  Old Aunt Kate,                                     179
+  Origin of the Snake, The,                          165
+
+  Paying Debts with Kicks,                           184
+  Periwinkle,                                        201
+  Pig Tail,                                          153
+  'Possum up the Gum Stump,                            3
+  Pretty Little Girl,                                172
+  Pretty Pair of Chickens, A,                        181
+
+  Rabbit Hash,                                       203
+  Rabbit Soup,                                        33
+  Race-Starter's Rhyme, A,                           180
+  Randsome Tantsome,                                 202
+  Raw Head and Bloody Bones,                         174
+  Redhead Woodpecker,                                178
+
+  Sam is a Clever Fellow,                            151
+  Shoo! Shoo!,                                       196
+  Stealing a Ride,                                   188
+  Stick-a-ma-stew,                                   155
+  Strange Family, A,                                 171
+  Strange Old Woman, A,                              178
+  Strong Hands,                                      167
+
+  Tails,                                               5
+  Taking a Walk,                                     183
+  Teaching Table Manners,                            197
+  Too Much Watermelon,                               182
+  Training the Boy,                                  201
+  Tree Frogs,                                        168
+  Turtle's Song, The,                                 30
+  Two Sick Negro Boys,                               173
+
+  Washing Mamma's Dishes,                            189
+  What Will We Do for Bacon?,                        185
+  Wild Hog Hunt,                                     165
+  Willie Wee,                                        189
+
+  You Had Better Mind Master,                        126
+  Young Master and Old Master,                       169
+
+
+_Charms and Superstitions_
+
+  Bat! Bat!,                                         202
+  Black-eyed Peas for Luck,                          200
+
+  Don't Sing before Breakfast,                       186
+
+  How to Make it Rain,                               101
+
+  Jaybird,                                            14
+
+  Molly Cottontail, or Graveyard Rabbit,               8
+  My Speckled Hen,                                   170
+
+  Periwinkle,                                        201
+
+  Speak Softly,                                      214
+
+
+_Hunting Songs_
+
+  Fox and Geese,                                      40
+
+  He will Get Mr. Coon,                               28
+  Hunting Camp, The,                                  43
+
+  Miss Slippy Sloppy,                                100
+
+  Opossum Hunt, An,                                   23
+
+  Rattler,                                            46
+
+
+_Drinking Songs_
+
+  Aunt Dinah Drunk,                                   53
+
+  Bring on your Hot Corn,                             29
+
+  Little Red Hen,                                     37
+
+
+_Wise and Gnomic Sayings_
+
+  Brag and Boast,                                    213
+
+  Don't Tell All You Know,                           214
+  Drinking Razor Soup,                               211
+
+  Fed from the Tree of Knowledge,                    212
+
+  How to Plant and Cultivate Seeds,                  208
+
+  Independent,                                       209
+
+  Learn to Count,                                    207
+
+  Man of Words, A,                                   208
+
+  Old Man Know-all,                                  211
+
+  Self-control,                                      213
+  Speak Softly,                                      214
+  Still Water Runs Deep,                             214
+
+  Temperance Rhyme,                                  209
+  That Hypocrite,                                    210
+  Tongue, The,                                       212
+
+  War is On, The,                                    207
+
+
+_Harvest Songs_
+
+  Harvest Song,                                       57
+
+
+_Biblical and Religious Themes_
+
+  Ark, The,                                           44
+
+  How to Keep or Kill the Devil,                     104
+
+  Jawbone,                                            12
+  Jonah's Band,                                        1
+
+  Satan,                                              93
+
+
+_Play Songs_
+
+  Anchor Line,                                        87
+
+  Budget, A,                                          79
+
+  Did You Feed my Cow?,                               78
+  Down in the Lonesome Garden,                        89
+
+  Green Oak Tree! Rocky-o!,                           81
+
+  Hawk and Buzzard,                                   75
+  He Loves Sugar and Tea,                             84
+  Here Comes a Young Man Courting,                    85
+
+  Kissing Song,                                       82
+  Kneel on This Carpet,                               82
+
+  Likes and Dislikes,                                 76
+  Little Sister, Won't You Marry Me?,                 90
+
+  Old Black Gnats, The,                               80
+
+  Peep Squirrel,                                      78
+  Precious Things,                                    84
+
+  Raise a "Rucus" To-night,                           90
+
+  Sallie,                                             87
+  Salt-rising Bread,                                  83
+  Song to the Runaway Slave,                          88
+  Sugar Loaf Tea,                                     81
+  Susan Jane,                                         77
+  Susie Girl,                                         76
+  Sweet Pinks and Roses,                              92
+
+
+_Miscellaneous_
+
+  Antebellum Courtship Inquiry,                      135
+  Antebellum Marriage Proposal,                      137
+  As I Went to Shiloh,                                13
+  Aunt Jemima,                                       107
+
+  Bad Features,                                      100
+  Bedbug,                                             96
+  Blindfold Play Chant,                               73
+  Bought Me a Wife,                                  145
+
+  Captain Dime,                                        5
+  Care in Bread-making,                              112
+  Caught by the Witch Play,                           74
+  Christmas Turkey,                                   98
+  Clandestine Letter, A,                             136
+  Coffee Grows on White Folks' Trees,                107
+  College Ox, The,                                   112
+  Courtship,                                         138
+  Crooked Nose Jane,                                  99
+  Crossing a Foot-Log,                               109
+
+  Day's Happiness, A,                                125
+  Destitute Former Slave Owners,                      97
+  Do I Love You?,                                    129
+  Does Money Talk?,                                  113
+
+  Elephant, The,                                     116
+
+  Fattening Frogs for Snakes,                         97
+  Few Negroes by States, A,                          117
+  Fine Plaster, A,                                   124
+  Fox and Geese Play,                                 73
+  Fox and Rabbit Drinking Proposition,               111
+  Frightened Away from a Chicken-Roost,               95
+
+  Going to be Good Slaves,                           101
+  Good-by, Wife!,                                    148
+  Goosie-Gander Play Rhyme,                           75
+
+  Half Way Doings,                                   120
+  Hawk and Chickens Play,                             74
+  He Paid Me Seven (Parody),                         122
+  Hear-say,                                          114
+  How to Get to Glory Land,                           96
+  How to Please a Preacher,                          117
+
+  I Walked the Road,                                 139
+  I'll Eat when I'm Hungry,                          114
+  I'll Get You, Rabbit!,                             116
+  I'll Wear Me a Cotton Dress,                       118
+  I'm a "Round-Town" Gentleman,                      108
+  If You Frown,                                      137
+  Indian Flea,                                        12
+  Invited to Take the Escort's Arm,                  135
+
+  Joe and Malinda Jane,                                4
+  John Henry,                                        105
+  Johnny Bigfoot,                                     93
+  Juba,                                                9
+  Jump Jim Crow,                                      13
+
+  Kept Busy,                                         109
+
+  Let's Marry Courtship,                             138
+  Looking for a Fight,                               118
+  Love is Just a Thing of Fancy,                       2
+
+  Mule's Kick, The,                                   98
+  Mule's Nature, The,                                108
+
+  Negro Soldier's Civil War Chant,                   115
+  Negroes Never Die,                                  11
+  Newly Weds, The,                                   144
+  No Room to Poke Fun,                                99
+
+  On Top of the Pot,                                  10
+  Our Old Mule,                                      112
+  Outrunning the Devil,                              103
+
+  Page's Geese,                                      102
+  Parody--He Paid Me Seven,                          122
+  Parody on "Now I Lay Me Down to Sleep",            115
+  Parody on "Reign, Master Jesus! Reign!",           122
+  Presenting a Hat to Phoebe,                        140
+  Pretty Little Pink,                                127
+
+  Rascal, The,                                       106
+  Request to Sell, A,                                123
+
+  Sex Laugh,                                         102
+  Short Letter, A,                                   113
+  Slave Marriage Ceremony Supplement,                143
+  Sparking or Courting,                              136
+  Stand Back, Black Man,                              10
+  Still Water Creek,                                   2
+
+  "They Steal" Gossip,                               110
+  This Sun is Hot,                                   108
+  Thrifty Slave, The,                                 94
+  To Win a Yellow Girl,                              102
+  Turkey Funeral,                                    111
+  T-U-Turkey,                                          6
+  Two Times One,                                     121
+
+  Uncle Jerry Fants,                                 109
+
+  Walk, Talk, Chicken With your Head Pecked,           4
+  We'll Stick to the Hoe,                            123
+  When I Go to Marry,                                144
+  When I Was a Roustabout,                           145
+  Why Look at Me?,                                   113
+  Wild Negro Bill,                                    94
+  Wind Bag, A,                                       101
+
+
++----------------------------------------------------------------------+
+
+Transcriber's Note--Con't: The following changes and corrections were
+made:
+
+  Front Matter: mid-line dots changed to periods
+  p. vi: diaeresis and e-acute accent removed from naivete
+  p. x: missing u-macron added (... 'is f[=u]ner'l song.)
+  p. 9: marker mentioned in footnote was originally a double dagger
+  p. 20: extra " removed (He's a "dead shore shot," gwineter kill
+         dem crows." to ... gwineter kill dem crows.)
+  p. 21: Footnote originally read "Those starred ..."
+  p. 29: misplaced apostrophe moved ('An toted him away. to An'
+         toted him away.)
+  p. 31: one to on (Mud turkle settin' on de end o' dat log;)
+  p. 38: . to , (Den I e't 'is 'lasses all de week,)
+  p. 43: two identical footnotes (note [16]) merged
+  p. 45: indent on 3rd line removed in "Grey and Black Horses"
+  p. 66: missing o-macron added (An' dat ole Police sh[=o]' make
+         me jump.)
+  p. 70: missing o-macron added (Now retch out y[=o]' han' ...)
+  p. 74: extra " removed ("Chickamee," chickamee, cranie-crow." to
+         "Chickamee, chickamee, cranie-crow.")
+  p. 87: missing ! added to 1st Sallie! in 2nd set of brackets
+  p. 145: missing close " added ("Potrack! Potrack!")
+  p. 151: indent on lines 3 and 4 removed in "The Great Owl's Song"
+  p. 157: "But he ..." to "But: He ..." in 3rd stanza of "My Little Pig"
+  p. 165: ; to ! (Mash his head; de sun shine bright!)
+  p. 173: missing hyphen added (Grasshopper a-settin' on ...)
+  p. 174: missing hyphen added (Doodle-Bug, 3rd line, 1st "Doodle-bug!")
+  p. 227: e acute accent removed from dique
+  p. 228: PART II heading added
+  p. 283: OE ligature changed to Oe (Oeohippus)
+  p. 290: periods after the words "Solitaire" and "Supplemented"
+          removed
+  p. 290: missing period added (I a.)
+  p. 292: missing ! added after last "Juba!" in doublet
+  p. 303: comma changed to period (their skill will long linger.)
+  pp. 307, 314, 327, 345: ante-bellum to antebellum to match rest
+                          of text
+
+Several spelling and punctuation irregularies between the index and the
+main text have been corrected without note. Several alphabetization
+errors in the index were also corrected.
+
+"Push the Hog's Feet under the Bed" was removed from p. 333 of the
+index--it was listed with no page number, and does not appear in the
+text. Also, the poem "A Day's Happiness" (p. 125) was called "A Day's
+Happenings" in the index (pp. 328, 345)--this was corrected.
+
++----------------------------------------------------------------------+
+
+
+
+
+
+End of the Project Gutenberg EBook of Negro Folk Rhymes, by Thomas W. Talley
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