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diff --git a/27195.txt b/27195.txt new file mode 100644 index 0000000..3df4f9a --- /dev/null +++ b/27195.txt @@ -0,0 +1,9754 @@ +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. 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