Negro Folk Rhymes Part 45

is borrowed from superst.i.tion. 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 a.s.sisted in accomplis.h.i.+ng 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 Courts.h.i.+p Rhymes, and show that they are derivatives of Courts.h.i.+p, and so on to the end of all the cla.s.ses 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 ill.u.s.tration 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 a.s.sertion 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 d.i.n.k," given in the first song recorded, while others were made up of some sentence like "'Tain't Gwineter Rain No Mo'!" 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 d.i.n.k," and the second as "'Tain't Gwineter Rain No Mo'."

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 ill.u.s.trations, 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 res.p.a.cing 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 d.i.n.k," heading "(b)," "I sho' 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 d.i.n.k." 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 d.i.n.k," so any Rhyme which could be fitted into a 4/4 measure would be used with the "'Tain't Gwineter Rain No Mo'." Ill.u.s.trations 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 mult.i.tude of Negro Folk Rhymes, a small fragment of which mult.i.tude 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 a.s.sociation; 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 a.s.sociation was able to a.s.sist 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 a.s.sociate 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 a.s.sociation 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 Courts.h.i.+p 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 yo' plantation."

This is primitive courts.h.i.+p; 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 courts.h.i.+p in this manner in olden days?" No, not by any means.

Only the more primitive by custom, and otherwise used such forms of courts.h.i.+p. 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 courts.h.i.+p 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 Inst.i.tute, 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 kins.h.i.+p 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