Negro Folk Rhymes Part 44

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-fas.h.i.+oned 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 att.i.tude 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 ma.s.ses. This rhyme, though a little acidic and though we have recorded the milder version, leaves the unquestioned conclusion that, though the Negro ma.s.ses may have wished for the exalted station of the rich Southern white man and possibly would have willingly had a white color as a pa.s.sport to position, there never was a time when the Negro ma.s.ses 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 cla.s.sification, and is kind-hearted enough to dignify them with a claim to kins.h.i.+p 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 a.n.a.logy 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 const.i.tution some well defined marks which characterize the other parts with which it has no immediate connection. To ill.u.s.trate: 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 cla.s.s.

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 Sh.e.l.l Corn," "Jack and Dinah Want Freedom."

I now direct attention further to the cla.s.sification of Negro Rhymes as Ballads. My earnest desire was to cla.s.sify Negro Rhymes under ordinary headings such as are used by literary men and women everywhere in their general cla.s.sification 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 cla.s.sification. 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 Superst.i.tions, for its last stanza very plainly alludes to the old Negro superst.i.tion 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 j.a.panese 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 cla.s.sification 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 cla.s.sified list at the end of the book, under the t.i.tle "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 Superst.i.tions.

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 cla.s.sification which lends itself more easily to a discussion of the origin and evolution of Negro Rhyme.

The basic principle used in this cla.s.sification is Origin and under each source of origin is placed the various cla.s.ses 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 cla.s.ses 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 ill.u.s.trate--Courts.h.i.+p Rhymes come under Division II, because courts.h.i.+p 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: a.s.suming 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 cla.s.sification of Negro Folk Rhymes:

DIVISION CLa.s.s

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. Courts.h.i.+p 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 ill.u.s.trate 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 yo' 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 a.s.sume 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 pa.s.sed 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 yo' 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"