NEG RO FOLK RH YMES
Wi s e a nd Other wis e
WIT H A ST UDY
BY T HOMAS W. T ALLEY
OF FISK U NIVERS ITY
1mmgaoth T H E MACMILLAN COMPANY
1 9 2 2
All ri h t: r eserv ed , g
INT RODUCT ION
Of the making of books by individual authors there is no end ; but a cultivated literary taste among the exceptional few has rendered almost im
- possible the production o f genuine folk songs . The s o of o o o o of pectacle , theref re, a h m gene us thr ng partly civilized peo ple dancing to the music of crude instruments a nd evolving ou t of dance-rhythm a lyrical or narrative utterance in poetic form is sufli ciently rare in the nineteenth century to chal
Ne o Folk Rh me lenge immediate attention . In gr y s is to be found no incons iderable part o f the musical and poetic life - records o f a people ; the compiler
o to presents an arresting volume which , in additi n
its is being a pioneer and practically unique in field , as nearly exhaustive a s a sympathetic understand ing of o s and o of the Negr mind , careful re earch , lab r
s so of s love can make it . Profe r Talley Fi k Uni versity h as spared himself no pains in collecting and piecing together every attainable scrap and fragment o f secular rhyme which might help in adequately
' o interpr eting the inner life of his wn people .
V INTRODU CTION
o r s Being the express ion of a race in , j u t emerging to s so s from bondage , the e ngs may at fir t seem Of some readers trivial a n d almos t wholly devo id
as o o appear literary merit . In phr e l gy they may c an d s o a rude , lacking in that elegance fini h rdin rily associated with poet ic excellence ; in imagery they
- o are at times exceedingly winter starved , medi cre ,
s s o no common , drab, carcely ever ri ing ab ve the
s o oo happy environmen t o f the singer . The utl k
is fo r os one o f upon life and nature , the m t part , imaginative simplicity and child - like nai vete; super stitions crowd in upon a wo rldly wisdom that is
an o o s elementary, practical , d bvi u ; and a warped
oo d o o and cr ked human nature , evel ped and f stered
ow e . by circumstances , sh s frequ ntly through the lines ? What else might be expected At the time when these rhymes were in pro cess of being created the conditions under which the American Negro lived and labored were not cal culated to inspire him with
s f Re a de ire or the highest arti sti c expression . str icted o w s , cramped , b und in un illing ervitude , he looked about him in his miserable little world to see whatever o f the beautiful or happy he might
s o d is find ; that which he di c vere pathetically slight ,
is t k but , such as it , it served o eep alive his stunted
-so d os d r artist ul un er the m t a verse ci cumstances.
vi INTRODUCTION
H e saw sw s b sk or ob the eet pink under a lue y,
s o s a a as erved the fading vi let and the roses th t f ll ,
he passed to a tryst under the o ak trees of a forest , and wrought these things into h is songs of love and
Frie les w s w om tenderness . nd s and o ther i e ithout c
panionship he lived in imaginatio n with the beasts — and bir ds of the great out-of doo rs ; he knew per
’ son ll oo b a y Mr . C n , Brother Rab it, Mr . Possum
and their associates of the wild ; Judge Buzzard a nd
Sister Turkey appealed to his fancy as offering ma
ter ial for what he supposed to be poetic treatment . Wherever he might find anything in his lowly posi
o ti n which seemed to him truly useful or beautiful ,
he seized upon it an d wove about it the sweetest i song he could sing . The result s not so much
poetr y of a high order a s a valuable illustration of
rs s o f s - s s the pe i tence arti t impul e even in slavery .
so of s o -so s ow In me the e f lk ng , h ever , may be
found certain qualities which give them dignity and w ' h o . o s r h t rth They are , when pr perly pre ented , y
o s mical to the p int of perfection . I my elf have
heard many of them chanted with and Without the
o of s s acc mpaniment clapping hand , tamping feet ,
o f and swaying bodies . Unf rtunately a large part o
their liquid melody and flexibility o f movement is lost through confinement in cold print ; but when
Vl l INTRODUCTION they are heard from a distance on quiet summer
o s o nights or clear Southern m rning , even the m st ISc fastidious ear is satisfied with the rhythmic PU
os of o which o f them . That path the Negr character r can never be quite adequately caught in words o transcribed in mus ic is then augmented and intensi
o o fied by the peculiar quality o f the Negr v ice , rich
o s d c o in overt ne , quavering, weir , caden ed , thr bbing
f Or s w with the sufferings o a race . perhap that ell
as fo r o developed sense of humor which h , m re than
e d s l so rows f s a c ntury , ma e ance tra r bearable ind fuller expressio n in the lilting turn of a note th an in the flashes of wit which a bundantly enliven the
of s o is n pages thi v lume . There o e lyric in par ticular w d s o f i s hich , in evi ent incerity feel ng, imple
f d a n a o f and una fecte grace , d regul rity form , appeals to me a s having intrinsic literary value
’ ’ ’ Sh e h u a n sh e ss g me , ki me , ’ ’ Sh e w h an d rung my an crie . ’ Sh e said I wu s d e sweetes thing r d r d Dat eve live o d ie .
’ ’ ’ Sh e h u she ss g me an ki me . ’ Oh H ea ben ! De touch 0 her han " Sh e said I wu s d e pu ttiest thing ’ In d e s 0 o hape m rtal man . viii INTRODUCTION
’ o o I t ld her dat I l ve her , Dat my love wu s bed -cord strong ; ’ ’ x s Den I a ed her w en he d have me , ’ ’ “ ’ ” An she j es say, G o long !
There is also a dramatic quality about many
of s s oo the e rhyme which must not be overl ked . It has long been my observation that the Negro is
oss ss r f o ho not p e ed by natu e o c nsiderable , t ugh as
s yet highly developed , histrionic ability ; he take delight in acting ou t in pantomime whatever he
r i n ot may be relating in song o story. It s sur
s n to - s or i inat pri ing, the , find that the play rhyme , g “ “ ” o s se ing fr m the call and re pon , are really
little d ramas when presented in their proper set
“ ” s ting . Caught By The Witch would not be in
ff if on r w e ective , a da k night , it ere acted in the — vicinity of a graveyard ! And one ballad if I — may be permitted to dignify it by that name called “ ” Promises o f Fr eedom is characterized by an u n
ado rned nar rative style and a dramatic ending
which are associated with the best English folk
s s ballads . The singer tell imply and , one feels, with a grim impersonality of how his mistress
promised to set him free ; it seemed a s if sh e would — “ ’ ” never die but she s somehow gone ! His master
s om likewi e made pr ises ,
1x INTRODUCTION
’ Y es ole o s o s , my M s er pr mi e me ; “ ” ’ But his papers didn t leave me free . ’ ’ A dose of pizen he pped im along . ’ ’ May d e Devil preach is fu ner l song .
The manner of this conclusion i s strikingly like
“ ” S o s d Edw that of the c tti h balla , ard ,
The curse of hell frae me sall ye beir ,
Mither , Mither , s e The curse of hell frae me all ye b ir ,
Sic cou nseils ye gave to me O.
In both a story o f cruelty is suggested in a single d artistic line a nd ended with startling , ramatic
b s a ruptne s .
tw so ob In fact , these o ngs pr ably had their ultimate o ri gi n i n n ot widely diss imilar types of
i s so s t . o illiterate , un phi ticated human socie y Pr e
’ “ ” so al S d a r T ley s tu y in Negro Folk Rhymes , p
d o s o o f d t so i . pen e thi v lume ngs , s illuminating
One may not be d isposed to accept without con sidera ble modification his theo ries entire ; still his
o o so s - d k ow acc unt fr m per nal , fir t han n ledge o f the beginnings a n d possible evolution of certain rhymes
s o o is H in thi c llecti n apparently authentic . ere we have again , in the nineteenth century , the record o f s o a inging, dancing pe ple creating by a process x INTRODUCTION
approximating communal authorship a mass o f verse
o o s s s s o s emb dying tribal mem rie , ance tral uper titi n , and racial wisdom handed down from generation to
o generati n through oral tradition . These are gen
n o -so s— s s—in w ine f lk ng lyrics , ballad , rhyme hich
o h are crystallized the th ught and feeling, t e uni
versall s o f s y hared l re o a folk . Recent theorizer on poetic o rigins who would insist upon individual
as opposed to community authorship of cert ain types of song- narr ative might do well to consider
’ o sso l s s s An d stu Pr fe r Ta ley characteri tic tudy .
dents o f comp arative literature who love to recreate the life o f a tribe or n a tion from its so ng and story
will discover in this collection a mine of interesting
material.
s s of o Fi k Univer ity , the center Negr culture in
me is to o d o initi A rica , be c ngratulate up n having
d s f i ate the gathering and pre ervation o these rel cs , a
b o s how o ‘ valua le heritage fr m the past . Ju t imp r tant for literature this heritage may prove to be — will not appear until this institution and others — with like purposes h as fully developed by cul tiva tion , training, and careful fostering the artistic impulses so abundantly a part of the Negro char
w h as o d acter . A race hich pr duced , un er the most
o o s o f o - disheartening c nditi n , a mass f lk poetry such xi - men 3 with unlimited opportunities fo r self develop t .
WAIA‘ER Vanderbilt
S m e 0 1 epte b r 3 , 9 2 I .
xii
DANCE RHYME S ECTION
JONAH ’ S BAND PARTY
’ ’ ’ ’ S ETCH a kickin up sa n ! Jonah s Ban !
’ ’ ’ ’ S et ch a kickin up san Jonah s Ban !
’ Han s up sixteen ! Circle to de right !
’ ’ bi - We s gwine to git g catin s here to night.
’ ’ ’ ’ Setch a kickin up san ! Jon ah s Ban !
’ ’ ’ ’ Setch a kickin u p san ! Jonah s B an l
’ o oo Raise y right f t , kick it up high 9“ e Knock da t Mobile Buck in de ye.
’ ’ ’ ’ S et ch a kickin up san ! Jon ah s Ban ! ’ ’ ’ " Setch a kickin up san ! Jon ah s B an
’ em ! S tan u p, flat foot , Jump d Bars
’ ’ s Karo back ards lak a train 0 kyar .
’ ’ ’ ’ Set ch a kickin up san ! Jonah s Ban !
’ ’ ’ ’ S et ch a kickin u p san ! Jon ah s Ban !
’ ’ ’ o Mistiss s o Dance r und , , h w em de p int ;
’ Dat Nigger don t know how to Coonj aint.
‘ x a i o a h T hese a r e d a nce steps . For e pl nat n re d t e S tudy i n Negro Folk Rhymes . I NEGRO FOLK RHYMES
LOVE IS JUST A THING OF FANCY
’ LOVE is jes a thing 0 fancy,
’ Beauty s j es a blossom ;
’ If you wants to git yo finger bit, ’ o S tick it at a p s sum .
’ s e Beauty, it s j es kin d ep ;
’ o o . Ugly, it s t de b ne ’ ’ B eauty, it ll j es fade way ;
’ ’ ’ But Ugly ll hol er own .
STILL WAT ER CREEK
’ ’ WAY o on er on S e d wn y till Wat r Creek, l ’ I got sta ded an stayed a week .
’ I see d Injun P uddin and Punkin pie,
’ ’ But de black cat stick em in de yaller cat s eye.
’ ’ er on S Way down yon till 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 ou t fer de ch ickens t roost.
n S I got hongry o till Water Creek, ’ mud to o s bri De de hub an de h s tchin weak .
ro l e I stewed bullf g chit ins, bak d polecat pie ; ’ o o If I g es back dar, I sh s gwine to die. 2 NEGRO FOLK RHYMES
’ POSSU M U P THE GUM STUM P
’ m POS SUM up de gu stump , Dat raccoon in de holler ;
’ ’ ’ ’ T wis im ou t im o n , an git d w , ’ ’ An I ll gin you a half a doller.
’ Possum up dc gum stump,
Yes, cooney in de holler ; A pretty gal down my house
l t Jes as fat as she can wal e .
’ Poss um up de gum stump, ’ His j aws is black an dirty ; ’ r T o come an kiss you , p etty gal,
’ o I d run lak a g bbler tucky.
’ Possum up de gum stump , ’ ’ A good man s hard to fi n ;
’ You d bet ter love me, pretty gal, ’ i ’ You ll git de yudder k n . NEGRO FOLK RHYMES
JOE AND MALINDA JANE
’ OLE Joe j es swore upo n is life ’ ’ He d make M erlin dy Jane is wife.
’ ’ ’ ’ W en she hear im up is love an tell ,
’ ’ She j umped in a bar l o mussel shell . ’ ff She scrape er back till d e skin come o . ’ i ’ Nex day sh e die wid de Whoop n Cough .
WALK, TALK, CHICKEN WITH YOUR HEAD PECKED !
’ LK ! WA , talk, chicken wid yé head pecked ’ ou Y ou can crow w en y se been dead .
’ k O ec Walk, tal , chicken wid y head p ked ! hol ’ O’ Y ou can high y bloo dy head .
’ ’ o oo H Y u s wh ped dat Blue en s Chicken, ’ ’ o im his Y u s beat at game. ’ o on If dere s s me fedders him , ’ Fer dat you s not to blame .
’ al wid 6 W k, talk, chicken y head peeked ! You beat ole Johnny Blue ! k wid 6’ Walk, tal , chicken y head peeked ! “ - - - — — S ay Cock a doo dle doo l 4
NEGRO FOLK RHYMES
CROSSING T H E RIVER
’ ’ ’ I WENT down to d e river an I couldn git cross .
’ ’ I j umped on er mule an I thought e wus er hoss . ’ ’ ’ ’ Dat mule e wa k in an git mired up in de sa n
’ ’ You d oughter see d dis Nigger make back fer de lan ’ !
’ I want to cross de river but I caint git cross ;
’ w s n am o e u s o s. So I mounted o a r , fer I th ught er h
d so to sw I plunge him in , but he rter fail im ;
’ ’ ’ im ou t An I give five dollars fer to git ag in .
’ ’ ’ Y es w ow to , I ent d n de river an I co uldn git cross ,
’ So I give a whole dollar fer a ole blin hoss ;
’ ’ ’ so u ze Den I d him in an he sink stead O swim . ? Do you know I go t wet clean to my ole hat brim
T -U -TURKEY
T —U T -u , tucky, , ti .
’ T - u ar s , tucky , buzz d eye.
- - T u k T u . , tuc y, , ting
’ - T u k zz d s W . , tuc y , bu ar ing
’ ’ h o O , s s ! o w oo Mi tah Wa hin t n D n t h p me, ’ oo d a t a k Wh p Nigger B c hind dat tree . 6 NEGRO FOLK RHYMES
’ H e o st le tucky, I didn steal none . ’ G o co n wuk him in de field j es fer fun .
CHICKEN IN T HE BREAD TRAY
“ ’ E o do AUNTI , will y g bite “ ” No N , Chile ! o ! Chicken in de bread tray
’ A makin u p dough .
“ o’ Auntie , will y broom hit “ ” Y es ! P o ! , Chile p Chicken in de bread tray ; “ ” Flop ! Flo p ! Flop !
’ i 6 n Auntie, w ll y ove bake
“ ” es ! Yes. J fry
’ What s dat chicken good fer “ Pie ! Pie ! Pie ! ”
“ ’ o oo Auntie, is y pie g d “ ’ o ou o e Go d as y c uld sp c . Chicken in de bread tray ; “ ” Peck ! Peck ! Peck ! NEGRO FOLK RHYMES
T R MOLLY COTTON AIL, O , GRAVE YARD RABBIT
LE o o i O M lly Co tt nta l,
’ ’ w en d e oo s At night, m n pale ; ’ ’ to You don t fail tu n tail , l * You always gives me eg bail .
- Molly in de Bramble brier , Let me git a little nigher ;
r - s P ickly pear , it ting lak fire !
Do please come pick out de brier !
o M lly in de pale moonlight ,
’ YO tail is sho a pretty white ; ’ ’ You wa ou n takes it fer y t sight . “ ” M olly ! M olly ! M olly Bright !
Ole o o o M lly C tt ntail,
You sets up on a ro tten rail !
Y ou tears through d e graveyard !
You s dem l h an t make ug y T s wail.
Ole o o to M lly C t ntail , ’ Won t you be shore not to fail i’ I. e a i to r u n a a g b l w y. ' H a n os s r i i s 1 ts gh t o sp r t . 8 NEGROFOLK RHYMES
ale ’ ’ T o give me yo right hi n foot ?
’ o My luck, it w n t be fer sale .
lJUBA
’ B JU A dis , an Juba dat,
s Y aller Juba i kin dat Cat . Juba ! Juba !
’ b Juba jump an Ju a sing.
’ u Juba , i c t dat Pigeon s Wing. Juba ! Juba !
ff ’ o o . Juba , kick Juba s sh e
ubal . ! ! Juba , dance dat i J Jew Juba Juba
oo o Juba , whirl dat f t ab ut .
o ou t . Juba , bl w dat candle Juba ! Juba !
Ra i se . Juba circle, i de Latch D ! ! Juba do dat i Lo ng og S cratch . Juba Juba
’ T hi s embraces th e old super sti ti on tha t carryi ng i n ’ i i nd oo of a i w i h a one s pocket th e r ght h f t rabb t, h ch s a ou ceme er r i n s ood uck to i ts ha bi tua lly lived b t a t y, b g g l o possess r. TT hi s pecu li a r ki nd of d a nce rhyme i s expl a ined i n the
S tudy i n Negro Fo lk Rhymes . t T he expressi ons ma r ked 4: a re vari ous kind s of d ance s step . N EGRO FOLK RHYMES
ON T OP OF T H E P OT
’ WILD goose gallo p an gander trot ; ’ M istiss on to 0 ot ! Walk about, , p de p
’ ’ l tunnu reens h ot Hog j owl bi in , an p g , ’ on to 0 ot ! Walk abo ut, Billie, p de p
s all o n S o Chitlins, hog year , de p t, ’ o s on to 0 dc ot ! Walk ab ut, ladie , p p
STAND BACK, BLACK MAN
0h!
’ N a STA back, bl ck man ,
’ Y ou cain t shine ;
’ YO lips is too thick, ’ ’ ki ’ An you hain t my n .
a ce i n th e S ou us o o n In a few pl s th, j t f ll wi g th e Ci v i l a r th a oes o a ni zed emse v W , e M u l tt rg th l es i nto a li ttl e “ ” n T h u ein i r gui ld k own a s e Bl e V C cl e, from which o w r ck we e exc ud e those wh e e bla r l d . T hi s i s one of h s thei r r yme . IO NEGRO FOLK RHYMES
’ Git way , black man , You j es haint fine ;
’ ’ I se done quit foolin
- Wid de nappy headed kind .
S ’ tan back, black man ! ’ Cain t you see
Dat a kinky- headed chap
’ ’ ’ Hain t nothin side 0 me ?
NEGROES NEVER DIE
NIGG ER ! Nigger never die !
n He gits choked o Chicken pie . ! ! Black face, white shiny eye . Nigger Nigger
Nigger ! Nigger never knows !
’ o c oo o s Mashed n se, an r ked t e
’ o Dat s de way de Nigger g es . Nigger ! Nigger !
Nigger ! Nigger always sing ;
’ o Jump up, cut de Pidge n s wing ; ’ ! ! Whirl , an give his feet a fling . Nigger Nigger I! NEGRO FOLK RHYMES
JAWBONE
S M SON s o ! S so o ! A , h ut am n , m an ’ S amson , bring on yé Jawbone .
w o w ! w o k ! Ja b ne , alk Ja b ne , tal wi k ’ w d fo k. Ja bone, eat a nife an
’ w o o a o Walk, Ja b ne ! Jinny, c me l n !
’ o S wi Y on er g es ally d de boo tees on.
o ! w Jawb ne, ring Ja bone , sing !
o w Jawb ne, kill dat icked thing .
INDIAN FLEA
m INJ UN flea, bit y knee
’ o Kaze I w uldn drink ginger tea .
d Flea bite har , flea bite quick ;
s Flea bite burn lak dat eed tick.
Hit not dat flea , flea dere . ’ so ma d s I se I pull my hair.
’ o w I g ild an fall in de creek.
’ ’ T o w s im o ff Id s a h , tay a week. 1 2
DANCE RHYME SONG S ECTION
’ ’ ’ - ir om lim t lim An he 1 . De J ay b d jump fr o “ Us e a ll the sta n zas of J a ybird
tell Brer Rab-bit to do lak him Bret
’ Brer Rab bit say to de connin elf You jes
’ n ’ wa t me to fall an kill my se i .
I loves dem short - en gals l I loves dem
S ho - eu ls ! h have e - rt ga O , m r cy on my soul !
JAY BIRD
’ ’ DE om to Jaybird j ump fr lim lim , ’ ’ to An he tell Br er Rabbit do lak him . 1 4 NEGRO FOLK RHYMES
’ ’ Br er Rabbit say to de cunnin elf
“ ’ You j es want me to fall an kill myself .
’ ’ ’ D i - at Jayb rd a settin on a swingin lim .
’ He wink at me an I wink at him .
' ’ “ He a w en l ugh at me my gun crack .
' ’ o on fla It kick me d wn de t o my back .
’ ’ ex N day de Jaybird dance dat lim .
s I grab my gun fer to shoo t at him .
’ “ ” ow s m W en I crack d n , it plit y chin . “ ” Ole sin Aggie Cunj er fly lak .
’ ’ o on er risin Way d wn y at de sun , ’ a - o Jaybird talkin wid a forked t ngue . * ’ H e s been down dar whar de bad mens dwell .
“ ” Ol —ou —w e Friday Devil , fare y ell !
OFF FROM RICHMOND
’ ’ ’ m rn n IS E off from Richmon sooner in de o i .
’ ’ ’ ’ befO 0 Ise off from Richmon de break day . ’ ’ I slips o ff from Mosser widou t pass an warnin
’ wh v r Fer I mus see my Donie are e she may stay .
4"' x i on S u d i n N A supersti ti on. For e pla na t , see t y egro
Folk Rhymes. 1 5 NEGRO FOLK RHYMES
HE IS MY HORSE
’ - ONE day as I wu s a ridin by,
“ ’ S : Ole man os aid dey , yé h s will die s os If he die , he is my l s ;
’ is o s. An if he lives , he my h s
’ ’ ’ - b Nex day w en I come a ri din y,
“ ’ 6 os . Dey said : Ole man , y h s may die
“ ’ ’ s is sk If he die , I ll tan in ; ’ ’ ’im ’ An if he lives, I ll ride ag in .
’ ’ ’ - Den ag in w en I come a ridin by ,
“ l os o Said dey : O e man , h s m ught di e.
’ ’ his c n If he dies, I ll eat o ; ’ ’ ’i m on . An if he lives , I ll ride
JUDGE BUZZARD
o DERE sets Jedge Buzzard n de Bench .
’ G o tu n him off wid a monkey wrench ! ’ ’ Jedge Buzzard try Br er Rabbit s case ;
’ ’ sa T a re in An he y Br er p win dat race .
H s s ed e d on ere et J g Buzzar de Bench .
Knock him off wid d at monkey wrench !
“4 S ee S ud i n Ne o R mes f or ex a n t y gr hy pl a ti on . 1 6 NEGRO FOLK RHYMES
SHEEP AND GOAT
’ SH EEP an go at gwine to de pas ter
“ ’ Says de goat to de sheep : Cain t you walk a liddle faster
’ ’ s : De sheep say I cain t , I se a liddle too full .
“ ’ ’ Den de goat say : Y ou can wi d my ho ns in yO ” wool .
’ ’ But de goa t fall down an skin is shin
’ ’ An de sheep split is lip wid a big bro ad grin .
SO ON! JACK N, PUT THAT KETTLE
CK ut k o n ! JA SON , p dat ittle
s o f o ! Fire , team dat c f ee d ne
’ ot to Day done broke, an I g run
’ t Fer to meet my gal by de isin sun .
My ole Mosser say to me , ’ 9“ Dat I mus drink sassfac tea ; f But Jackson stews dat cof ee done ,
’ ’ ’ An he sho gits his po tion : Son !
S a ssf ac s a ssa fras.
I7 NEGRO FOLK RHYMES
DINAH ’ S DINNER HORN
’ ’ ’ IT col os mornin S a , fr ty , ’ ’ An de Niggers goes to wo k ;
n Wid d eir axes o deir shoulders,
’ ’ ’ An widou t a bit 0 shu t .
’ ' o l Dey s g t o e husky ashcake,
’ Widou t a bit 0 fat ; ’ ’ de folks ll An white grumble,
’ ou s If y eat much 0 dat .
o I runs d wn to de henhouse, ’ An I falls upon my knees ;
’ ’ It s nough to make a rabbit laugh T o hear my tucky sneeze .
ows on mea I gr up dem tski ns, I comes down on a bo ne ;
’ s d a t co n I hit bread fifty licks,
s dat o I make butter m an .
’ ’ It s glory in yé ho nor !
’ ’ An don t you want to go ? I sh oly will be ready
’ dinn ah ho n t Fer dat o blow. ’ S hu t shi rt. 1 8 NEGRO FOLK RHYMES
“ ole o Dat bell , it g es B angity bang ! ”
’ Fer all dem white folks bo n . ’ But I se not ready fer to go ’ o Till Dinah bl ws her ho n .
— “ — Po ke sallid Poke sallid
’ ’ ol ho Dat e n up an blow.
Jes think about dem goo d Ole greens ! ’ S ay ? Don t you want to go ?
MY MULE
’ ’ LAS S a ddy mornin Mosser said “ ’ n o Jump up w, Sambo, out n bed .
’ G o s o to o addle dat mule, an g t wn ;
’ ’ ’ An bring home Mistiss mornin w go n .
s o o I addled dat mule t go t town . ’ ’ w I mounted up an he buck d me do n .
’ Den u o out n I jumped p fr m de dust,
’ ’ An I rid him till I thought he d bust .
I9 NEGRO FOLK RHYMES
BULLFROG PUT ON T HE SOLDIER CLOT HES
’ o B ULLFROG pu t on de soldier cl s .
H e went down yonder fer to shoot at de crows ;
’ ’ ’ k o Wid a knife an a fo between is t es,
’ ’ ankcher o o An a white h fer t wipe is n se .
’ Bullfrog put on de soldier clo s.
’ “ ” H o o in e s a dead sh re sh t, gw eter kill dem ” crows . ’ “ H Pot e takes , an Skillet from de Fid dl ’ er s Ball .
’ Dey re to dance a liddle j ig while Jim Crow
fall .
' ’ o on so Bullfr g put de ldier clo s .
He went down de river fer to shoot at de
crows .
’ ’ ow w De p der flash , an de cro s fly way
’ ’ ’ o oo em An de Bullfr g sh t at all nox day . W SAIL A AY, LADIES l
a SAIL way, ladies ! S ail away !
Sail away, ladies ! S ail away !
’ ’ w w o Nev min hat dem hite f lks say,
s u May de Mighty ble s yo . S ail away ! 2 0
NEGRO FOLK RHYMES
OLD MOLLY HARE
’ OLE Molly har !
’ ’ What s you doin thar ? “ ’ ’ ’ see ar. I se s ettin in de fence comer, smokin gy
’ Ole Molly har ! ’ ’ What s you do in thar ? “ ’ ’ ’ ’ ’ u b-r or s t n - I se pickin o t a , et in o a Pricky p ar .
’ Ole Molly har ! ’ ’ ? What s you doin thar “ ’ o o o I se gwine cr ss de C tt n Patch , hard as I can ’ ” t ar .
’ o - M lly har to day,
S o d e y all say , ’ G ot 0 es her pipe clay, j to smoke de time
‘ ’ De do gs say boo !
’ An dey barks too .
’ ot no to l t I hain t g time fer ta k o you .
22 NEGRO FOLK RHYMES
ONE NE G RO TUNE USE D WITH “ AN OP OSS UM HUNT ”
CHORUS .
’ - o ood an t P oe summ st is g swee ,Charvehimto de
heart I a! ways finds it good to eat L G ENERA CHO.
Charve him to de heart Charve dat
pos sum! Charve dat pos sum! Charve dat
’ sum! oh charve im to de heart! AN OPOSSUM H UNT
’ ’ M is POSSU meat good an sweet ,
alw oo I ays finds it g d to eat .
do w to My g tree, I ent see . ’ s A great big po sum up dat tree .
’ I retch up an pull him in , ’ ’ ol oss o Den dat e p um gin t grin . 23 NEGRO FOLK RHYMES
’ I tuck him home an dressed him
off , ’ Dat night I laid him in de fros . ’ De way I cooked dat possum
sound ,
o I fust parb iled, den baked him
I put sweet taters in de pan ,
’ ’ ’ ’ T wu s de bigges eatin in de lan .
DEVILI SH PIGS
’ o d 0 o I WISH I had a l a p les,
’ T o fence my new-groun lot ;
T o keep dem liddle bitsy debblish pigs
’ ’ - Frum a rootin up all Ise got .
’ o s oo s co n Dey ro t my cabbage, r t my ;
Dey roo ts up all my beans .
l w - Dey spei t my fine s eet tater patch ,
’ ru int tunnu An dey my p greens .
’ ’ ’ s Ise I se rund dem pig , an rund dem
pigs .
’ ’ I se gittin mighty hot ;
’ ’ one d se o o o An e days w en n b dy l ok, ’ ’ De ll oo o y r t r und in my pot . 2 4 NEGRO FOLK RHYMES
l PROMISES OF FREEDOM
MY ole i i M st ss promise me ,
’ ’ W en she died , she d set me free .
’ ’ She so o er lived l ng dat head got bal , ’ ’ ’ An she give ou t n de notion a dyin
at all.
My ole Mistiss say to me “ ’ S o amb , I se gwine ter set you free . ’ i ’ ’ But w en dat head g t slick an bal ,
’ ’ ’ De Lawd couldn a killed er wid
a big green maul .
ole Mistiss My never die ,
’ ’ Wid er nose all hooked an skin all
dry.
’ ole s s so o o But my Miss, he meh w g ne, ’ ’ “ ” ’ An she lef Uncle Sambo a -hillin
’ up co n .
l i Ole Mosser akw se promise me,
’ ’ d set W en he ied , he d me free.
’ But ole Mosser go an make his Will ’ Fer to leave me a -plowin ole Beck
still . 25 NEGRO FOLK RHYMES
l o s Yes, my o e Mosser pr mi e me ; “ ” ’ But his papers d idn leave me free .
’ ’ A dose of pizen he ped im along.
’ ’ May de Devil preach is funer l song.
WHEN MY WIFE DIES
’ W EN wi neter anu dder one my wife dies, g git me ;
aller on e lak u dder one. A big fat y , j es de y
’ ’ ’
W en s o . I ll hate mighty bad , he s been g ne
’ ’ ’ Hain t no better oman never nowh ars been bo n .
’ to ou mus W en I comes die, y n bury me deep,
u t rum But p Sog molasses close by my feet . ’ ’ ’ o co n wa ow Put a pone bread y d n in my han . ’ ’ G wineter sop on d e way to de Promus Lan .
’ o o d W en I goes t die, N ob y mus n cry ,
’ ’ s o Mu n dress up in black, fer I m ught come back.
’ ’ ’ ’ w en Ise e an a os fer otten But b en dead , lm g ; ’ ’ Y ou o o — m ught think ab ut me an keep on a trottin .
’ ’ ’ Is e ou Railly, w en e be n dead, y needn bury me
at tall .
You mought pickle my bones down in alkihall
’ “ ’ o so oss Den f ld my han s , right acr my breas ; ’ ’ ’ An go an tell de folks Ise done gone to 2 6 NEGRO FOLK RHYMES ONE TUNE USE D WITH “ BAA ! BAA ! B LACK S HEEP !
Baa ! Baa ! B ack S hee Has l p. you got wool ?
Yes good Mos ser three bags full
One for ole Mis - tess One fer Miss Dame
- ’ One for do good Nig ger jes cross do lane.
- Poor lid dle black sheep poor lid dle lam my,
' to - : D . C. S
’ ' Poor lid dle black sheep s Got no mam BAA ! BAA ! BLACK SHEEP “ S BAA ! Baa ! Black heep ,
Has you got woo-l “ oo os Yes , g d M ser ,
Free bags full .
ole M istis One fer ,
One fer Miss Dame, 2 7 NEGRO FOLK RHYM E S
’ An one fer de goo d Nigger
e J s across de lane .
P66r d S lid le Black heep, P OOr liddle lammy ;
’ POOr liddle Black Sheep s
G ot no mammy .
HE WILL G ET MR . COON
’ LE s o 0 O Mi tah C on , at de break day,
’ ’ You needn think youse gwineter git way.
h o Caze ole man Ned , he know ow t run ,
’ ’ ’ ’ i n An he s sho gone fer to g t is gu .
’ ’ ’ You needn clam to dat highes lim ,
’ ’ ’ t h Y ou cain t git ou n de retc o him .
You can stay up dar till de su n done set .
’ ’ I ll bet you a dollar dat he ll git you yet .
’ ’ l s oo o to O e Mi tah C n , y u d well s give up .
’ Y ou s o sa had well t give up , I y
ole man is Caze Ned straight atter you , ’ ’ ’ An he ll git you shO this day.
28
NEGRO FOLK RHYMES
SUGAR IN COFFEE
’ ’ ’ - SHEEP S in de meader a mowin O de hay .
’ - o s um . De h ney in de bee g , so dey all say ’ ’ ’ ’ My head s up an Ise boun to go .
’ Who ll take sugar in d e coffee-o ?
’ d o - I se de prettiest lid le gal in de c unty o.
’ o sa My mammy an daddy, dey b fe y so. ’ “ ” oo de o I l ks in glass , it d n t say, No ;
’ S o Ill k f -o ta e sugar in de cof ee .
T HE TURT LE ’ S SONG
’ o M UD turkle settin n de end of a log,
’ ’ A- in f o - r i watch o a tadp le a tu n n to a frog.
’ ’ ’ He s a - lak see Br er B ar pullin a mule.
’ ’ H s s ar in - e ee Br er T e p a makin him a foo l .
’ ’ ’ ’ Br er B ar pull de rope an he puff an he blow ; ’ ’ But he cain t git de T earpin out n de wa ter
from below.
’ bi oo is a - o o Dat g clay r t b ldin dat r pe ,
’ ’ ’ ’ T ear in s ot im oo B r er p g f led , an dere ’ n o hain t o h pe .
For ex a n a i on see S u d i n Ne r o o pl t t y g F lk Rhymes . 30 NEGRO FOLK RHYMES
’ ’ Mud turkle settin one de end 0 dat log ;
’ S o a-tu rnin t ing fer de tadp le o a frog,
’ ’ ’ S to a - m ing Br er B ar pullin lak a ule,
’ Sing to Br er T earpin a - makin i m a fool
h ’ O’ ” O , Br er Rabbit ! Y eyes mighty big .
’ ’ Y es , Br er Turkle ! Dey re made fer ”
to see.
’ ’ h T ear in Y O O , Br er p ! house mighty ’ ” cu ous !
’
s s . Yes, Br er Turkle, but it j e t uits me
’ ’ h B ar Y ou s o O , Br er ! pull mighty st ut .
’ ’ Y es ! s s , Br er Turkle Dat right mart said ! ”
’ ’ ! so s Right , Br er B ar Dat und bully
good ,
’ ’ But yo u d o ughter git a liddle mO pull ” in de head .
RACCOON AND OPOSSUM FIGHT
’ ’ DE raccoon an de possum
’ Under de hill a - fightin ;
’ Rabbit almos bust his sides
’ ’ Laughin at de bitin . 31 NEGRO FOLK RHYMES
’ De raccoon claw de possum ’ Along de ribs an head ; ’ ’ Possum tumble over an grin ,
’ Playin lak he been dead .
COTTON EYED JOE
’ ’ ’ l bow HOL my fiddle an h o my , l Whilst I knocks o e Cotton Eyed Joe.
’ I d a been dead some seben years ago,
’ If I hadn a danced dat Co tton Eyed
Joe.
s s o o Oh , it make dem ladie l ve me s ,
’ ’ ’ ’ W en I comes roun pickin ole Cotton Eyed Joe !
’ so o Yes, I d a been married me f rty
a o year g ,
’ ’ ’ ' If I hadn stay d roun wid Cotton
Eyed Joe.
’ ’ ole oe s I hain t seed J , ince way las Fall ;
’ ’ Dey say he s been sol down to Guinea
Gall . 32 N EGRO FOLK RHYMES
RABBIT SOUP
RABB IT soup ! Rabbit sop !
’ nnu to Rabbit e t my tu p p .
Rabbit hop, rabbit j ump ,
’ Rabbit hide behin dat stump .
’ o o Rabbit stop, twelve cl ck,
Killed dat rabbit wid a rock.
’ ’ ’ s Rabbit s mine . Rabbit s kin .
’ ’ ’ Dress im off an take im in .
’ ’ Rabbit s on ! Dance an whoop !
’ ’ Makin a pot 0 rabbit soup !
OLD GRAY MINK
I ONCE did think dat I would sink,
But you know I wus dat ole gray mink .
l ’ Dat O e gray mink jes couldn die ,
’ o oo n W en he th ught about g d chicke pie .
He swum dat creek above de mill, ’ ’ ’ ’ eatin An he s killing an chicken still . 33 NEGRO FOLK RHYMES
R N GGE RUN! U , NI R,
’ R ! -rollers ll U N , Nigger , run De Patter
ketch vou .
’ ’ ! It s os . Run , Nigger, run alm day
’ Dat Nigger run d , dat Nigger flew, h i ’ w Dat Nigger tore s shu t in t o.
o All over dem woods and fr u dc pester,
Dem Patter- rollers shot ; but de Nigger
faster,
’ whirl d Oh , dat Nigger , dat Nigger
’ wheel d , ’ Dat Nigger tore up de whole co n field .
SHAKE T HE PERSIMMONS DOWN
’ o DE racc on up in de simmon tree .
’ ’ n Dat possum o de groun .
’ De possum say to de raccoon
“ ’ SUh P
’ s d em s o Please hake imm ns down . ' a o ers or w i e u a d s on d u a P tr ll , h t g r ; ty t night d u ring th e d ays of sl a ver y ; whos e d u ty i t wa s to see tha t s l a ves o ermi ssi on to o s a ed a t o with ut p g , t y h me. 34 NEGRO FOLK RHYMES
’ ” De raccoon say to de possum : Suh !
n o o (As he gri fr m d wn below) , ’ ou oo If y wants dese g d simmons,
man,
Jes clam up what dey grow .
T HE COW NEEDS A TAIL IN FLY -TI ME
DAT ole sow sh e oo black , can r t in de mud,
’ She can tumble an roll in de slime ;
bi r ed cow u But dat g , she git all mired p,
c - So dat ow need a tail in fly time.
’ l os wi is o le bob i Dat o e gray h s , d ta l ,
’ You mought buy all is ribs fer a dime ;
le oss it But dat o gray h can g a kiver on,
ow fl - Whilst de c need a tail in y time .
’ ’ D a - at Nigger Overseer , dat s ridin on a
mule ,
' ’ ’ Cain t make hisse f white lak de lime ;
’ M osser mought take im down fer a notch w or t o,
’ cow d fl - Den de need a tail in y time.
35 NEGRO FOLK RHYMES
JAYBIRD DIED WIT H T HE WHOOPING COUGH
i ’ DE Jaybird died wid de Whoop n Cough , De Sparrer died wid de colic ;
’ - ski in o Long come de Red bird , pp r und , ’ “ ” o r o ! S ayin : B ys, git eady fer de Fr lic
’ Wh oo in o De Jaybird died wid de p C ugh , De Bluebird died wid de Measles ;
’ Long come a Nigger wid a fiddle on his
back, ’ ’ w Vitin Cro s fer to dance wid de Weasels .
’ ’ M ckin - o Dat o bird , he r mp an sing ; ’ l r c n Dat o e Gray Goose come p an i .
Dat Thras her stuff his mou f wid plums, ’ Den he caper on down to de d ancin .
’ o low o Dey h pped it , an dey h pped it high ; ’ o to b Dey h pped it , an dey hopped it y ;
’ o Dey h pped it fer , an dey hopped it nigh ;
’ ’ bow a Dat fiddle an j es m ke em fly .
36
NEGRO FOLK RHYMES
My liddle red hen hatch fifty red chicks
’ In d at liddle Ole nes o f huckleberry sticks .
’ ’ ’ Wi n O v chick ll two ! d o e m drink , e y make
’ ’
o on Ho s o . C me , bring it , ney , an let git thr ugh
RAT ION DAY
DAT o da o o w rati n v c me nce a eek ,
’ Ole Mosser s rich as Gundy
’ s us ss w But he give la es all de eek, ’ S ’ An buttermilk fer und y .
’ Ole oss o M er give me a p und O meat .
’ ’ I e t it all on Mo nd y ;
’ ’ ’ e t is ss s w Den I la e all de eek . ’ k S ’ An buttermil fer und y .
’ Ole oss o M er give me a peck meal , I fed and cotch my tucky ;
’ ’ e t ss s w k But I dem la e all de ee , ’ k S d ’ An buttermil fer un y.
h ’ ’ ’ O laugh an sing an don t git tired .
’ ’ We s w o o o all g ine h me . s me M nd y ,
’ T o d e honey ponds an fritter trees ;
’ ' ’ ’ ’ a ll S An ev ry d y be und y . 38 NEGRO FOLK RHYMES
MY FIDDLE
IF ole my fiddle wus jes in chune ,
’ ’ She d bring me a dollar ev y Friday
night in June .
’ ole is x W en my fiddle fi ed up right,
’ She bring me a dollar in nearly ev y
night .
’ ole W en my fiddle begin to sing,
he o a S make de wh le pl ntation ring.
’ She bring me in a dollar an sometime mO’
’ Hurrah fer my Ole fiddle an bow !
IN T HE P IG - 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 figh tin
wah Yes, die, die in de !
’ i - fi htin Die in de p g pen g ,
’ ” aw ! Yes , die wid a bitin j 39 NEGRO FOLK RHYMES
MASTER IS S IX FEET ONE WAY
’ oo MOSSER is six foot one way, an free f t
tu dder ;
’ r An he weigh five hunde d 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-h ammer
’ p int .
’ ’ S s f o his Bl h u l ( peak o r ood o nd l bite us . )
’ ’ His long white stocki n s mighty clean an
nice ,
’ mO o But a liddle h lier dan righteous .
FOX AND GEESE
’ ’ E F w u BR R ox a k o t one moonshiny night ,
’ ’ ’ H e sa to h isse f w at h e s wineter o y a g d .
“ ’ He I wi t say, se g ne er have a goo d piece
’ 0 meat,
’ B efO w I leaves dis to nyoo .
Dis town oo dis town y , yoo !
’ Y es befO s town , I leave dis yoo 40 NEGRO FOLK RHYMES
’ Ole mammy S opentater j ump up out n bed ,
’ ’ ’ An she poke her head outside 0 de dO. Sh ’ e : l m o . say O e an , my gander s g ne
’ ’ ‘ I h ea red im w en he holler qu inny
’ u i q an o,
‘ ’ u inn - u ani i - u Q y q o, qu nny q anio !
’ ’ ‘ Y es b i , I eared m w en he holler quinny ’ u i q an o.
GOOSEBERRY WINE
N ’ ow umble Uncle Steben , I wonders whar youse gwine ?
’ ’ ’ o S uh D n t never tu n yé back, , On dat good ole gooseberry wine I
Oh walk chalk, Ginger Blue !
o Git over double tr uble .
’ ’ Y ou needn min de wedder
’ ’ ’ So s de win don t blo w you
double .
Nowl Uncle Mack ! Uncle Mack ! ? Did you ever see de lak Dat goo d ole sweet gooseberry Wine
Call Uncle Steben back . 41 NEGRO FOLK RHYMES
I WOULD RATHER BE A NEGRO THAN A POOR WHITE MAN
’ ’ wuks MY name s Ran , I in de san ;
’ ’ But I d druther be a Nigger dan a pé
white man .
G wineter hitch my oxes side by side, ’ An take my gal fer a big fine ride.
G wineter take my gal to de country ’ st6 ;
i eter u G w n dress her p in red ca lico.
’ ’ u Yo take Kate, an I ll take Joe. ’ ff - Den o we ll go to de pahty o .
G wineter take my gal to de Hulla
oo bal ,
’ Whar dere hain t no crackers in a
r mile o two .
I7: far! aca ti on
’ Oh S al ! Wh ar s de (Fiddler) , ” milk strainer cloth ?
Names appli ed by Negroes to th e poorer cl a ss of white
eo e i n th S o p pl e uth. NEGRO FOLK RHYMES
“ ’ (Banj o Picker) Bill s got it ’ ” wr o opped r und his ole sore leg. “ o t (Fiddler) Well , take it d wn o de
’ gum Spring an give it a cold wa
’ ter rench I spizes nastness any
’ o way . I se g t to have a clean ” clo th fer de milk.
’ He do n t lak whisky but he j est drinks
a can.
’ H oney ! I d druther be a Nigger dan é ’ a p white man .
’ ’ o ole I d druther be a Nigger, an pl w Beck Dan a white Hill B illy wid his long
red neck.
T HE HUNTING
’ SAM got up one mornin ’ A mighty big fros “ s i S aw A lou e, in de hunt n camp As big as any hoss ! Names appli ed by Negroes to th e poorer class of whi te S peopl e i n th e ou th . 43 NEGRO FOLK RHYMES
’ S am r un way down de mountain ;
’ d ar But w en Mosser got ,
’ ’ He swore it twusn t nothin ’ But a big black b ar.
T HE ARK
’ OLE Nora had a lots 0 hands ’ clearin o A new gr und patches . ’ He d wineter sai he s g build a Ark, ’ ut o An p tar n de hatches.
’ ’ He had a sassy Mo gan hoss ’ An gobs of big fat cattle ;
’ ’ An riv oa e he d em all ab rd d Ark , ’ W en he hear de thunder rattle .
’ ’ An den de river r iz so fas
’ e r a il s Dat it bust de lev e in .
o ot h n De li n g is da der up,
’ ’ An he lak to a broke de palin s.
’ An on dat Ark wus daddy Ham;
No on udder Nigger dat packet .
’ He oo ot o s n g tired de Barber Shop,
’ ’ e couln Caz he stan de racket. 44
NEGRO FOLK RHYMES
RATTLER
G O call ole Rattler fro m
’ b n o . Here Rattler ! Here !
’ ’ Hell drive de cows out n de Here Rattler ! Here !
’ Rattler is my huntin dog. H er e Rattler ! Here !
’ o H e s g od fer rabbit, goo d fer
ho g. Here Rattler ! Here !
’ ’ He o o s g od fer p ssum in de dew.
Here Rattler ! Here !
So metimes he gits a chicken, Here Rattler ! Here !
BROT HER BEN AND SISTER SAL
’ ’ OLE l Br er Ben s a mighty good o e man, ’ He o h d n t steal c ickens lak he u seter .
’ ’ H e went down de chicken roos las Fri
d a y night,
’ An off tuck a dominicker rooster. 46 NE GRO FOLK RHYMES
’ ole Sis al Dere s S , she climbs right well, ’ ’ h u e er But she cain t gin to climb lak s e s t .
’ ’ So yonder she sets a shelliu ou t co n
’ T o m s l b b- os Mam y o e o tailed ro ter .
’ Y es Ole Sis S l s a ole al , a mighty fine g ,
’ ’ ’ S hO x he s s e tra goo d an clever .
’ S s o o o own he d ne tuck a n ti n all her ,
’ ine r Dat she hain t gw te marry never .
’ Ole S is S s ot oo so bi al g a f t g,
’ ’ Dat she cain t wear no shoes an gaiters .
S wa s so o O all she nt i me red calic ,
’ aller sw e s An dem big y yam e t tater .
o ! Now oo Now looky, lo ky here l ky ,
looky there ! — ’ ! Jes loo ky ! Looky way over yonder
’ Don t you see dat ole gray goose
’ A- smilin at de gander ?
SIMON SLICK’ S MULE
’ u d kickin DERE w s a lid le man ,
His name wu s S imon Slick .
s He had a mule wid cherry eye .
h ow o ! O , h dat mule c uld kick 47 NEGRO FOLK RHYMES
’ ’ h ou o to An , Su , w en y g up him ,
’ He shet one eye an smile ;
’ ’ o ou Den e telegram is foot t y ,
’ ’ An sen you h alf a mile !
NOBODY LOOKING
i ’ WELL : I look d s a way, an I look dat a way,
’ ’ t r An I hea ed a mighty umblin .
’ ’ ’ W en co to out twus a I me find , d d s w black so ,
’ ’ ’ A-r in an - rumbli oot a g n .
Den : I slipped away down to de big White
House. ’
she o . Miss S allie, done g ne way
’ ’ o m se f o chear I p pped y in de r ckin , ’ ’ o An I r cked myse f all day .
’ Now : oo an o I l ked dis a way, I lo ked dat a way, ’ d ’ An I di n see nobody in here .
’ es cofie t I j run d my head in de e po , ’ ’ ’ drink d An I up all 0 de beer .
48 NEGRO FOLK RHYMES
HOECAKE
oe e IF you wants to bake a h cak , ’ T o bake i t good an done ;
’ ’ s on i s Jes lap it a N gger heel, ’ ’ An hol it to de sun .
o Dat snake, he bake a h ecake, ’ 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 thr owed it g iu st a Nigger s head ’ ’ An it ring j es lak a hammer.
u De way yo bakes a hoecake,
’ In dc ole Virginy tire ;
’ ’ Y ou wrops it r ound a Nigger s
e he l,
’ ’ fir An h61s it to de e.
49 NEGRO FOLK RHYMES
I WENT DOWN T HE ROAD
I WENT down de road , I went in a whoop ; An ’ I met Aunt Dinah
’ Wid a chicken pot o so up .
- - - S ing : I went away from dar ; hook a doo dle, ” -a - oo— hook d dle. ” I went away from dar ; hook- a-doo-dle-doo !
dr so I unk up dat up ,
’ An I let her go by ;
’ ’ ’ An I tOl her nex time
’ T o bring Missus pot pie .
’ : h - ou - oo -a- doo-dle oo -a S ing O far y well ; h k , h k — doo dle ;
’ ’ ” - - - -doo-dle—d o ! Oh far you well , an a hook a o
T HE OLD HEN CACKLED
DE le sh o hen e cackled ,
’ ’ s ow b n An tayed d n in de o .
’ She ss git fat an sa y ,
’ ’ A-c n atin up de co . 50 NEGRO FOLK RHYME S
ole sh De hen e cackled ,
o aller lai s Git great l ng y g .
She swa ller o o s d wn de at , ’ o it i But I d n t g no a gs.
Ol De e hen she cackled ,
She l cackled in de ot, ’ nex she De time cackled ,
She cackled in de pot .
I LOVE SOMEBODY
L VE somo es I O S eb dy , y , I do ;
’ n s so An I wa t mebody to love me too.
’ ’ ’ Wid my chyart an oxes stan in
’ ’ o r un ,
’ H er pretty liddle foo t needn tetch
’ de groun .
es I loves somebody, y , I do,
an some so Sticka Dat r d , hand me,
mastew.
’ re in o at Wid her dd g an waterfall,
’ She s de pr etty liddle gal dat beats ’ l em al . 5 1 NEGRO FOLK RHYMES
WE ARE ALL T HE G O
’ ’ “ - - - - o o s we s o. We s All de g , b y ; All de g
’ ’ “ A -d - Me an my Lulu gal s ll e go.
’ I jes loves my sweet pretty liddle Lulu
Ann , ’ But d e way she gits my money I cain t
’ hardly understan .
’ ’ ” W en she up an call me Honey ! I fer
s a is S am git my n me ,
’ ’ ’ An I hain t got one nickel lef to git a me d a ram .
’ “ ’ “ - - - - We s o o we s o. All de g , b ys ; All de g
’ ’ “ s - - o Me an my Lulu gal All de g .
’ ’ ’ ’ S w w a -fi hin w he s al ays g ine s , en she d oughter not to go ;
’ ’ An now she s all a tro ubled wid de frostes
’ an de snow.
’ I tells you jes one thi ng dat I se done
’ ’ gone an foun :
’ ’ De Nigs cain t git no livin round de COt
’ Ho s s s a tep n town . ’ u e
5:
NEGRO FOLK RHYMES
OLD WOMAN IN T H E HILLS
’ ONCE : Dere wu s an Ole oman Dat lived in de hills
’ ’ r o s t cki Put ck in er s o n s,
’ ’ s m to An ent e mill .
ole swo De miller re ,
’ By de pint 0 his knife ; Dat he never had ground
No o k r c s in his life .
’ De ole oman said
’ T o da t miller nex day
“ ’ Y ou s s me railly mu t cuse , ’ ” It s d e o s wa nlie t y.
d ou I beare y made meal , ’ A- rindin on s g tones.
’ ’ mu s d w o I ave beare r ng, ’ ’ ” mu s e It ave b en bones .
54 NEGRO FOLK RHYMES
A SICK WIFE
’ LAs Sadda w y night my ife tuck sick,
’ ’ An what d you recko n ail her ?
’ ’ She e t a tucky gobbler s head
’ ’ o An her st mach , it j es fail her .
She ou t : S am so squall , bring me me mint ! Make catnip up an ’ sage tea ! ”
’ o I g es an gits her all dem things,
’ r But she throw em back ight to me .
’ ” Dear H oney ! Mind nex time !
’ ‘ ’ Don t eat from A to Izzard
’ I thinks you won git sick at all
’ If you saves pé me de gizzard .
MY WON DERFUL TRAVEL
ole Vir inn I COM E down from g y,
’ Twas on a Summer day ;
frez De wedder was all up ,
’ ’ An I skeeted all de way ! 55 NEGRO FOLK RHYMES
In ter locu ti on
w to Hand my banj er do n 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 do pies .
* IWOULD NOT MARRY A BLACK GIRL
’ W D al I OUL N marry a black g ,
’ I ll tell you de reason why When she goes to comb dat head ’ll ’ De naps gin to fly.
’ r al I wouldn ma ry a black g ,
’ ’ I ll tell you why I won t
’ Wh en she d oughter wash her face
’ ’
es sa o . Well , I ll j y she d n t
’ u I wo dn marry a black gal ,
’ An dis is why I say
u h as o When yo her face ar und ,
It never gits good day.
For di scus si on see S tudy i n Neg ro Fol k Rhymes . 56 NEGRO FOLK RHYMES
HARVEST SONG
L ’ w As year u s a goo d crap year ,
’ ’ ’ s e An we rai ed b ans an maters. ’ ’ ’ We didn make much co tton an co n ;
oo ! But , G dness Life, de taters
o ole o You can pl w dat gray h ss,
’ I se gwineter plow dat mulio; ’ ’ ’ er a An w en we s gedd ed in de cr ps , ’ I se gwine down to see Julie .
’ ’ I hain t gwineter wo k on de rail
road .
’ wo k n I hates to o de fahm .
to oo I jes wants set in de c l shade ,
’ Wid my head on my Julie s ahm .
’ ’ Lou s S ue. You swing , an I ll wing
’ ’ Dere hain t no diffunce tween dese WO t .
’ u You swing Lo , I ll swing my beau ; ’ Ise gwineter buy my gal red calico.
S7 NEGRO FOLK RHYMES
YEAR OF JUBILEE
ER h as ou ole o s NIGG S, y seed M s er ; i (Red mustache on h s face . ) ’ ’ ’ - i mawnin A gwine roun sometime d s , ’ ’ ? Spectin to leave de place
H s m w Nigger and all run in ay, Looks lak we mo ught git free ! ’ " It mus be now de Kingdom Come
’ 0 In de Year Jubilee .
’ on er o s ole ss Oh , y c me Mo er
Wid his red mustache all white !
’ It mus be now de Kingdom Come
to- o r Sometime m r er night .
Yanks locked him in de smokehouse
cellar ,
’ De key s throwed in de well
’ ’ ho mus It s be d e Kingdom Come .
G O ring d at Nigger field- bell !
i n o r o K gd m C ome F eed m.
58 N EGRO FOLK RHYMES
SHEEP SHELL CORN
’ ’ ’ De Ram blow de ho n an de sheep shell co n
’ ’ An he sen it to de mill by de buck-eyed Whip
o po rwill . ’ ’ 9“ Ole Joe s dead an gone but his Hant blows ’ de ho n ;
’ ’ An his hound howls still from de top 0 dat
hill .
De Fish- hawk said unto Mistah Crane ;
“ ’ ’ I wishes to de Lawd dat you d sen a liddle rain ; ’ ’ o Fer de water s all muddy, an de creek s g ne
’ ’ ’ 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 ;
’ H ws h o n d e s erits Caze when de ant blo de , p ll a dance,
’ ’ ’ w o An de bosses an de cattle, dey hirls r und
’ an prance .
Ha nt spiri t or ghost .
59 NEGRO FOLK RHYMES
’ Yonder comes S killet an dere goes Pot ;
’ ’ An here comes Jawbone cross de lot .
’ Walk Jawbone ! Beat de Skillet an de Pan !
’ s You cut dat Pigeon Wing, Black Man !
’ Now : emmuns o Take keer , g , an let me thr ugh
’ Caze Ise gwineter dance wid liddle Mollie
’ ’ ’ Ise s d l k bo n But never eed e a since I se been ,
’ When de sheep shell co n wid de ratt le of
’ his ho n !
PLASTER
CH ILLU N S
’ m o Mam y an daddy had a h ss , dd Dey want a li le bigger . Dey sticked a plaster on his back
’ An dr awed a liddle Nigger .
’ Mammy an daddy had a dog,
’ His wu s s o tail h rt an chunky .
’ De s d o y lappe a plaster r und dat tail , ’ dr awed o An it lak de m nkey . 60
NEGRO FOLK RHYMES
T HE MASTER’ S STOLEN COAT
LE oss o o O M er b ught a brand new c at ,
H n e e hung it o d wall.
o Dat Nigger st le dat coat away, ’ t An wore it o de Ball .
His oo o f ot head l k lak a C f ee p ,
His o oo n se l k lak de spout,
His o i oo fier m u l k lak de place ,
s Wid de a hes all tuck ou t .
H o is face lo k lak a skillet lid , bi His years lak two g kites .
o i His eyes lo k lak two big biled a gs, l Wid de yal ers in de whites .
’ His body u s lak a stuff ed toad frog,
His foot look lak a board .
- h i Oh o ! He thinks he s so fine, ’ he s o But greener dan a g urd .
“ S o e er e mea n s a ken em or a i wi i n en i on t l , h , t t p r ly th t t n to retur .
62 NEGRO FOLK RHYMES
I WOULDN ’T MARRY A YELLOW ORA WH ITE NEGRO GIRL
’ S H O o es I l v dat gal dat dey calls Sally 1 Black,
’ ’ An I sorter loves some of de res ;
’ o I first l ves de gals fer lovin me , ’ ’ s m e f Den I love ys de bes .
’ o all I w uldn marry dat y er Nigger gal ,
’ ’ An I ll tell you de reason why ’ ’ H ra u er neck s d wed o t 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 nos e look lak a kittle spout ;
’ ’ An her skin , it hain t never dry .
DON ’T ASK ME QUESTION S
’ o DON T ax me no questi ns,
’ ’ An I won t tell you no lies ;
! s But bring me dem apple ,
’ ’ An I ll m ake you some pies.
' * k mes . For di scussi on see Study i n Negro Fol Rhy “ ” ' ' T i s na me i s a l Bl a ck here i s not th e rea l na me. h p f th i s to w om it pli ed beca use oi th e compl exi on o e g rl h wa s sung. 63 NEGRO FOLK RHYMES
’ u ax s o An if yo que ti ns ,
’ ’ Bout my h avin de flour ;
’ I fergits to use lasses
’ ’ An de pic ll be all sour .
’ Dem apples jes wa k here ;
’ ’
s s . An dem la se , dey run
’ H ain t no place lak my house
’ Found un er de su n .
T HE OLD SECT ION BOSS
I ONCE knowed an ole S exion Boss bu t he done been
laid low. I once knowed a n ole Sexion B oss but he done been w laid lo .
He Caame frum gude ole Irelan d some fawhrty ” a year go.
’ ’ ’ im b sa : Na er W en I ax fer a jo , he y yg , w at can ? ” yer do
’ ’ ’ im ob Na er can W en I ax fer a j , he say : yg , w at ? ” yer do ’ d e o I can line track ; t te de j ack, de pick an shovel
too. 64 NEGRO FOLK RHYMES
’ ’ S s : a er o o ch ars ay he N yg , de railr ad s d ne , an de y ” on is de track,
“ ’ ’ S s : a er o o ch ars ay he N yg , de railr ad s d ne , an de y ” on is de track,
’ ’ an o o Tr sp rtati n brung yer here , but yé money ll ” take yer back .
’ ’ o to D I went d wn de eepo , an my ticket I shO did
draw .
’ ’ o to Dee o i ' I I went d wn de p , an my t cket shO did w dra .
T o take me over dat ole Iron Mountain to de State
’ 0 Ar kansaw .
’ w sailin ow o As I ent d n de r ad , I met my mudder
- in law .
’ ’ wu s so ho n r wuk I tired an g y, man , dat I couldn
my j aw .
’ ’ I hadn t had no decent grub since I lef ole
Arkansaw.
H us o o s er bread w hard c rnd dger ; dat meat, I
’ couldn chaw .
o o s Her bread wus hard c rnd dger ; dat meat, I
’ couldn chaw .
’ You see ; dat s de way de Hoosiers feeds way ou t in
Arkansaw . 65 NEGRO FOLK RHYMES
T HE NEGRO AND T HE POLICEMAN
’ OH s o Mi tah P liceman , tu n me loos e ; ’ ” H ot no o oo x ain t g m ney but a g d e cuse .
Oh o S hell , arah Jane !
o le o Dat P liceman treat me mean ,
’ ’ H e k wa k to ow ma e me B lin Green .
Oh o S hell , arah Jane !
wa wus De y he treat me a shame.
’ He make me wear dat Ball an Chain .
h o S ! O hell , arah Jane
t ’ ’ I runs o de river , I can t git cross ;
’ Dat Police grab me an swim lak a hoss .
h o S ! O hell , arah Jane
o s ow t u n I g e up t n o git me a g ,
’ le o hO Dat O P lice s make me run .
Oh o S ! hell , arah Jane
’ I go es crosstown sorter walkin wid a hump ’ l h ’ An dat o e Police s o make me jump .
o ! Oh hell , S arah Jane
i O’ ? Sarah Jane , s dat y name
we s ou S a . U s boys, call y ar h Jane
o S ! Well , hell , arah Jane 66 NEGRO FOLK RHYMES
HAM BEATS ALL MEAT
’ DE M white folks set up in a Dinin Room
’ ’ ’ An dey charve dat mutton an lam
’ De Nigger , he set hind de kitchen door , ’ oo w An he eat up de g d s eet ham .
’ o set o Dem white f lks , dey up an l ok so fine, ’ An dey eats dat Ole cow meat ;
’ ’ de do But Nigger grin an he n t say much , ’ S o h ow i till he kn w to g t what s sweet .
oo Deir ginger cakes taste right g d sometimes,
’ ’ An deir Cobblers an deir j am .
’ S too But fer every day an unday , w Jest gimme de good s eet h am.
H am bea ts all meat, ’ Always good an sweet .
H am beats all meat,
’ Ise always ready to eat .
Y ou b can bake it , ile it , fry it , stew
’ ’ An still it s de good sweet ham . NEGRO FOLK RHYME S
SUZE ANN
l wi ss on I loves d at ga d a blue dre ,
w al Dat de hite folks c ls Suze Ann . ’ ’ w She s j es d at gal hat stole my heart,
’ ’ ow Way d n in Alabam .
: She o s o But l ve a Nigger ab ut nineteen , Wid h is lips all painted red ; Wid a liddle fuz around his mou f
’ no hi An brains in s head .
’ ’ oo oo E as ! Oh oo oo Wes ! L ky , l ky , l ky, l ky
’ ’ ’ Ise been down to ole Lou za n ;
’ Still dat ar gal I loves de bes
’ al w Is de g hat s named Suze Ann .
’ ’ ’ er ! H er ! Oh , head ead er l Ketch ’ “ w Jump up an Juba! Je .
’ ’ Fer de Banger Picker s savin °
’ ’ He hain t got nothin to do .
WALK T OM WILSON
’ m o h ad im oss OLE T o Wils n , he a h ; ’ i ’ ’ H is legs so long he couldn g t em cross .
’“ f J ub a l Jew i s a ki nd o d ance step. 68
NEGRO FOLK RHYMES
’ ’ so Jes go round w en de night s rter dark,
’ ’
dem k s see. An chic en , dey can t
’ a o s Be shore d t de bad d g all tied up ,
Den slip right close to d e tree .
’ ’ ’ ’ o an im N w retch ou t yo han pull in , Den run lak a William goat ;
’ ’ z i k An if he holler , squee e s nec ,
’ ’ ’ ’ An shove im un er yé coat .
Bake d at Chicken pie !
’ It s mighty hard to wait
ou see d a k When y t Chic en pie ,
’ H ot smokin , on de plate . Bake dat Chicken pie ! Y ’ es o s s . , put in l t 0 pice
Oh how , I hopes to Goodness
’ Dat I gits de bigges slice .
I AM NOT GOING T O HOBO ANY MORE
’ MY mammy done tol me a long time ago T o always try fer to be a good boy ;
’ ’ T o lay on my pallet an to waller on de flO;
’ ’ to An never leave my daddy s house .
’ ’ wineter o n O ! I hain t never g h bo o m . By George ’ ’ inet r m I hain t never gw e hobo no O. 70 NEGRO FOLK RHYMES
’ ’ Y es befO , I d live dat ar ho bo life,
’ ’ ’ I ll tell you what I d j es go an do
’ ’ ’ Id court dat pr etty gal an take er fer
’ Den jes lay side dat ar hobo life .
’ ’ in t o n mO I hain t never gw e er hob o . George !
’ ’ I hain t never gwineter hobo no mo
FORTY- FOUR
’ IF de people ll jes gimme ’ 0 Des a liddle bit peace ,
’ ’ I ll tell em what h appen
’ r T o d e Chief o P e lice.
H e met a robber
’ Right at de d6 !
’ ’ b s o im An de ro ber , he h t
’ Wid a forty- fO !
a He sh ot dat P erlicem n .
’ ’ H e shot im shO! ’ ? What did he shoot im wid
’ A forty- fé
Dey sent fer de Doctah
’ An de Doctah he come.
H e come in a hurry,
He come in a run . 7 I NEGRO FOLK RHYMES
He come wid his instriments
’ his Right in han ,
’ T o progne an fin d
’ o - fo ! Dat f rty , Man
De Doctah he progued
’ ’ H e progued im ShO !
’ But he j es couldn find
’ - Dat fo rty fé .
s P reach ah Dey ent fer de ,
’ An de preach ah he come .
H o w e c me in a alk , ’ t An he come in o talk . wi ’ i He come d s Bible, ’i ’ Right in s han ,
’ An he read from d at chapter,
’ - ! Forty fé , Man
P rea ch ah . Dat , he read
H o . e read , I kn w What Chapter did he read frum ?
’ ’ T wu s Forry- fO !
72 P LAY RH YME S ECTION
BLINDFOLD PLAY CHANT
’ ’ OI-I blin man ! Oh blin man !
’ Y ou cain t never see .
’ ’ Just tu n round three times
’ Y o u cain t ketch me .
’ ’ ’ ’ Oh tu n E as ! Oh tu n Wes !
Ketch us if you can .
’ ou o o ca tch us Did y th ught dat y u d , ’ ? Mistah blin man
FOX AND GEESE PLAY
(Fox Call ) Fox in d e
(Goose S ponse ) Goose in de evenin “ (Fox Ca ll ) How many geese you go t ? “ ’ ’ (Goose S po use) More an you r e able to
“ ” “ ” ‘ a i on of ca a nd s ou se For expl a n t ll , p , i n Negro Folk Rhymes . 73 NEGRO FOLK RHYMES
HAWK AND CHICKENS PLAY
’ “ Chickamee chickamee (CHICKEN S Ca ll) , ,
- cranic crow .
I went to de well to wash my toe.
’ wu W en I come back, my chicken s
gone . ’ l ? W at time, o e Witch
(Hawk S pou se) One H w l “ w ( a k Ca l) I an ts a chick.
’ “ ’
S ouse ou i it m . (Chicken s p ) Well , y ca n t g ine
“ ” (Hawk Ca ll) I shall have a chick !
’ T ‘ ’ ” (Chicken s S pouse) Y ou shan t have a chick !
CAUGHT BY T HE WITCH PLAY
M Call o o o - ! (HU AN ) M lly, M lly, M lly bright ’ ’ ” (Witch Spou se ) Three scO an ten ! ’ (Human Call ) Can we git d ar fore candle-light ? “ ’ ’ ” ou Y es is o an (Witch Sp se) , if yé legs l ng light .
’ “ ’ (Conscience s Warning Ca ll) You d better watch
out,
’ ” Or de witches ll gi t yer !
“ ” * a n i o of a an s onSe se S u d For expl a t n c ll , d p , e t y s i n Negro Folk Rhyme . 74 NE GRO FOLK RH YME S
G OOS IE - GANDER PLAY RHYME
“ G OOS IE oosie o - , g , g osie gander !
’ “ ‘ ’ What d you say ? S ay : Goose ! “ ’ Ve o o y well , g right al ng, Honey ! ’ ’ ” - I tu ns yé years a loose .
G oosie oosie oosie- , g , g gander ! ’ — “ ‘ What d yon say S ay : Gander “ ’
Ve . o y well C me in de ring, Honey ! ’ ’ ” I ll pull yo years way yander !
HAWK AND BUZZARD
’ ON E : H wk de z to C De a an buz ard went roost,
’ ot wid o off An de hawk g up a br ke tooth .
’ : to law Den De hawk an de buzzard went ,
’ o wi An de hawk c me back d a broke up j aw .
But lastly : Dat buzzard tried to plead his case ,
w o s s Den he ent h me wid a ma hed in face.
“ For expl a na ti on r ea d th e S tu dy i n Negro Folk
Rhymes. 75 NE GRO FOLK RHYM E S
LIKES AND DISLIKES
’ o ! Oh es do ! I S H O loves Miss D nie , y , I
’ w s She s neat in de ai t , Lak a needle in de case ;
’ An she suits my taste .
’ gwineter run wid Mollie Roalin ! will !
’ ’ She s pretty an nice
’ L o 0 s ak a b ttle full pice ,
’ But she s done drap me twice.
’ ’ do ss ! Oh no o I n t lak Mi Jane , I d n t .
’ ’ S s o he s fat an t ut ,
ou f s out G ot her m ticked ,
’ An she laks to pout .
SUSIE GIRL
’ IN o d S s R G r un , Miss u ie gal ,
’ “ o d Do Ring r un , My vie . ’ S Ring round , Miss usie gal .
“ ” u Bless yo ! My Lovie . 76
NE GRO FOLK RHYME S
PEEP SQUIRREL
’ r — — -lum PEEP squi l , ying ding did
’ ’ ’ o Peep squir l , it s alm s day,
’ oo r — — - L k squi l, ying ding did lum, ’ ’ oo r un L k squir l , an away .
’ - — - u Walk squir l , ying ding did l m; ’ ’ Walk squir l , fer dat s de way. ’ S - - - kip squir l , ying ding did lum ;
’ S all kip squir l , dress in gray.
’ Run squir l ! Ying-ding-did-lum ! ’ s h Run quir l ! O , run away ! ’ - — - I cotch you squ ir l l Ying din g did luml
’ o o I c tch y u squir l ! Now stay, I say.
DID Y OU FEED MY COW?
” ” DID e cow? yer f ed my Yes, Mam !
“ h w Mam Will yer tell me o Yes, ! Oh ’ id ’ “ ' , w at d yer give er Cawn an hay
’ ’ “ ’ Oh w at er C , did yer give awn an hay. 78 NEGRO FOLK RHYMES
’ ” “ er er oo ? Did y milk g d Yes , Mam !
do s o Did yer lak yer h uld “Yes, Mam ! “ ’ “ Oh how ~ , did yer milk er Swish ! Swish ! Swish ! ”
Oh h ow , did yer milk er Swish ! Swish ! Swish ! ”
” “ Did cow dat git si ck ? Yes, Mam! “ “ sh kivere Wus e d wid tick Yes, Mam ! “ ’” “ Oh how i , wus she sick All bloated up h “ O how b u . , wus she sick All loated p
“ ” Y es Did dat cow die , Mam ! ’ ” “ ” er ? ! Wid a pain in eye Yes , Mam
” “ ” h ow she ? - l O , h did die Uh Uh Uh ” “ ” ? - l Oh, h ow did she die Uh Uh Uh
’” “ ” o i ! Did de Buzzards c me Yes , Mam ’ “ ” r ! Fer to pick e bone Yes, Mam “ ” w o o ! o ! o Oh , ho did they c me Fl p Fl p Fl p l “ o o ! o ! o Oh , how did they c me Fl p Fl p Fl p
A BUDGET
’ IF Ilives to see nex Spring
’ Ise gwineter buy my wife a big gold 79 NE GRO FOLK RHYME S
’ x If I lives to see ne Fall ,
’ Ise gwin ter buy my wife a waterfall .
? ” ’ When Christmas comes Y ou cu nn in
’ ’ n u o Ise gwi eter spe my m ney on myself .
T HE OLD BLACK GNATS
DE M ole s is so black gn at , dey bad
’ ’ i u I cain t g t o t n here.
’ ’ s s s Dey sting , an bite , an run me mad ;
’ ’ I cai n t git ou t n here.
ole s s s so Dem black gnat dey ing de ng,
“ ’ ’ Y o u cain t git o ut u here .
’ ’ Ole S a tan ll git you befo long ;
’ ’ You cain t git ou t n here .
s s s Dey burn my year , git in my eye ; ’ ’ i u ’ An I cain t g t o t n here .
s d s Dey make me ance , dey make me cry ; ’ ’ i ’ An I cain t g t ou t n here .
’ ’ ’ I fans an knocks but dey won t go way !
’ ’ I cain t git ou t n here .
’ Dey makes me wish twu s Jedgment Day ;
’ ’ ou t n Fer I cain t git here .
80 NE GRO FOLK RHYM ES
SUGAR LOAF TEA
’ ’ RING o o S - 16 - o B thr ugh y ugar tea , bring thr ugh 6’ y Candy ,
’ ’ ’ is to w b All I want heel , an tu n , an ow to my Lo ve
so handy .
’ ’ ’ ’ Y ou on S -16 - tu n here ugar tea , I ll tu n there on
Candy .
’ ’ ’ is to w All I want heel , an tu n , an bow to my Love
so han dy .
’ S o s on S - lo - me git drunk ugar tea , some gits drunk
on Candy, w ’ ’ ’ But all I ants is to wheel , an tu n , an bow to my
so Love handy.
GREEN OAK TREE ! ROCKY ’O
’ ’ GREEN oak tree ! Rocky o ! Green oak tree ! Rocky o !
t ne ou o s who Call d a o y l ve , it may be ,
’ ’ T o come an set by de side 0 me .
“ ’ ’ ’ ” Will you h u g im once an kiss im twice ?
’ ’ ’ ’ ” W y ! I wo uldn kiss im once fer to save is life ! ’ ’ Green oak tree ! Rocky o ! Green oak tree ! Rocky o !
* Ni ckn a mes a ppli ed i n i ma g i n a ti on to th e women en g a ged i n pl a yi ng i n th e Pl ay S ong . 81 NE GRO FOLK RHYME S
KISS ING SONG
’ ’ A S LEIS H o bread an butter fried , o’ Is good enough fer y sweet Bride . ’ ’ o o w Now choose y L ver , ile we sing,
’ ’ ’ An call er nex onto de ring.
Oh o how o ou ! my L ve, I l ves y
’ o dis wo o ou N thin s in rl ab ve y .
’ Di fer ak s s e . right han , it never
’ o Dis heart , you mus keep f rever .
One sw ss now o ou eet ki , I takes fr m y ; ’ w ” Caze Ise gwine a ay to leave you .
KNEEL ON T HIS CARPET
’ E ’ ’ ’ JE S choose yé as ; j es choose yo Wes . ’ s ou o d Now choo e de one y l ves e bes .
’ ’ If she hain t here to take er par t
’ on se wi Choose some e el d all yé heart .
’ ow on dis ch ar et ou mu s D n y p y kneel , w ’ Shore as de grass gro s in de fiel .
’ ’ S o d s w alute y Bri e , an ki s her s eet,
’ ’ s o An den ri e up up n yé feet. 82 NE GRO FOLK RHYM E S
SALT RI S ING BREAD
’ ’ VE saltin a l i I LO S , s t n bread . l i ’ ’ o s sa t n al i . I l ve , s t n bread
’ on s Put dat killet , nev mind de lead ;
’ ’ Caze I se gwineter cook dat saltin bread ;
’ s Yes , ever since my mammy been dead , ’ ’ ’ ’ l ’ Ise been makin an cookin dat sa tin bread .
’ ’ l in altin I loves sa t , s bread .
’ ’ l in a l o sa t s tin . I l ves , bread
’ Y u o s s ? o l ve bi cuit , butter , an fat
’ I can dance Shilo h better an dat .
’ ’ ’ Does you turn round an shake yo head ’ l ’ al i a tin . Well ; I loves s t n , s bread
’ ’
o s sa ltin saltin . I l ve , bread
’ ’
s saltin saltin . I love , bread
’ ’ ’ W en you ax yo mammy fer butter an bread ,
’ ’ She don t give nothin but a stick across yo
head .
’ i ou ou s to ? On cr ackl n s, y say, y want git fed
’ ’ s saltin saltin . Well , I love , bread
83 NE GRO FOLK RHYME S
PRECIOUS THINGS
’ ol’ HOL my rooster , h my hen ,
’ ’ ooshen Pray don t tetch my G Ben .
’ hal’ w Hol my bonnet , my sha l , ’ w l Pray don t tetch my aterfa l .
’ ’ s Hal my han s by de finger tip ,
’ But pray don t tetch my sweet liddle lips .
HE LOVES SUGAR AND T EA
H ST ER o s s M IS TA B U , he l ve ugar
o s Mistah Buster, he l ve 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 dan dy.
’ o ow Ev ry time he goes t t n ,
H e gi ts dem gals stick candy.
’
i ah o s . Dat N gg , he l ve ugar an tea
Dat Niggah love dat candy .
Greci a n B end . 84
NEGRO FOLK RHYME S
’ ’ o on Sir ? ir ? Pray ! W n t you have e 0 us, Us, S
s S ir U , ?
’ ’ o u one 0 Sir aller Pray ! W n t yo have us, say y
gals all gay.
’ You is too ragged an dirty ! Dirty ! Dirty !
' ” Y ou is too r agged an dirty ! said T idlu m T idelum
Day.
Y ou shore is got de bighead ! B ighead ! Bighead !
’ You shore is got de bighead ! Y ou needn come dis
way. ’ o o u Sir ! Y ou Sir ! You We s good en ugh fer y , , ,
Sir !
’ ” u ir all s We s good enough fer yo , S ! dem y er gal
all say.
De fairest one dat I can see , dat I can see, dat I
e can se ,
see T idlum T idelum De fairest one dat I can , said
Day .
’ ’ ’ o wa k wa k My Lulu , c me an wid me , wid me , ’ i wa k w d me.
’ ’ ' VIi i dlum n wa k wid . ss T My Lulu , cor e an me ’ T idelu m Day .
86 NEGRO FOLK RHYME S
ANCHOR LINE
’ IS E ou t n a ! gwine o de Anchor Line , Din h
’ ’ o o s I w n t git back f re de ummer time, Dinah ! ’ ” o W en I c me back be dead in line,
’ ’ Is wineter u e g bring yo a dollar an a dime,
S as o ! hore I gits in fr m de Anchor Line , Dinah
o o s If y u l ve me lak I loves you , Dinah !
o t ou r o o No Co n can cu l ve in tw , Dinah ! ’ ’ wi If you ll j es come an go d me , id Come go w me to Tennessee ,
’ wi set e — ! Come go d me ; I ll you fr e , Dinah
SALLIE
’ SALLIE ! S allie ! don t you want to marry ?
’ Sallie ! S allie ! do come an tarry ! w Sallie ! Sallie ! Mammy says to tell her hen .
’ Sallie ! Sallie ! She s gwineter kill dat turkey hen !
o o Sallie ! Sal lie ! When you g es t marry , (S allie ! S allie ! ) M arry a fahmin man ( ’ ’ , (Sallie Sallie ! ) Ev ry d ay ll be Mond “ , ’ (Sallie ! Sallie ! ) Wid a h oe-handle in ya han ! 87 NEGRO FOLK RHYM E S
SONG T O THE RUNAWAY SLAVE
’ “ G 0 o w o H way fr m dat ind w , My oney, My ” Love !
’ G o wa o d a t w w y fr m indo ! I say.
’ ’ ’ ’ s l in De baby s in de bed , an his mammy y by, ’ ’ ’ ou it o l d i But y cain t g y o g n here .
’ G o o w ow way fr m dat ind , My Honey, My Lo ve
’ G o way from dat window ! I say ;
’ ’ ’ ’ ’ ole os ot un to Miss i o s Fer M ser s g is g , an p y u e
’ been sél
’ ’ ’ So u o i yo cain t git y lodg n here .
’ G o o w o Ho way fr m dat ind w, My ney , My ” Love !
’ wa w G o y from dat windo ! I say .
T h e s tory went a mong Negroes tha t a ru naway s l ave u s a nd r e u r ned e e ni a n d knocked on th e wi nd ow h b t v ry ght, ’ of hi O er s a e a v i n be s wi fe s ca bi n to get food . th l v s h g tr a ed th e secr e a h e wa s s i i n th e i ci ni h e wa s y t th t t ll v ty , sold i n th e wood s to a sl a ve tra d er a t r ed uced pr ice. T hi s tr a d er wa s to come n ext d a y wi th bl oodhou nd s to m d n On h i h th e u n hi ow . t e n a e t e a e w en h t ght ft r s l , h u n a a s a u s a nd knocked th a i i n ed r w y l ve h b , e sl ve w fe p ch T h a n thei r b aby to ma ke i t cry . hen s e s g th e a b ove son a i f si n i n to h a so h mi f o g ( s g g t e b by) , tha t e ght, i p s i f s e e ec hi e a e. bl , f t s sc p 88
NEGRO FOLK RHYM ES
E S S E O ’ Y OU LITTL I T R, W N T MARRY ME ?
’ IDDLE i h w L s sta in de barn , j ine de eddin .
o s s s d o d at Y u e de weete t lid le c uple I ever did see.
’ Oh Love ! Love ! Abms all round me !
’ S a sistah wo ou ? y, liddle , n t y marry me
’ ’ Oh al do ou o step back, g , an n t y c me a nigh me,
s ss wo s ou sa to Wid all dem a y rd dat y y me .
’ ’ Oh Lo ve ! Lo ve ! Abms all roun me ! ’ Oh d sistah wo o u ? lid le , n t y marry me
RAISE A RUCUS T O- NIGHT
WO s all ss se T liddle Nigger dre ed in white , (Rai a
r - u cus to night. )
t o t H aben a f is Want o g o e on de t il o a kite . (Ra e
r uc s o- a u t night . ) De kite string broke ; dem Niggers fell ; (Raise a
r - ucus to night . )
’
i ers o wi et r . Whar dem N gg g , I hain t g n e tell — (Raise a ru cus to night . ) 90 NE GRO FOLK RHYME S
’ ’ ’ A Nigger an a w ite man a playin seben up ;
ru - (Raise a cus to night . )
’ e De Nigger b at de w ite man , but e s skeered to
s r u c - pick it up . (Rai e a us to night . )
’ ’ mo Dat Nigger grabbed de ney, an de w ite man fell .
s r u cu - (Rai e a s to night . )
’ How i er Ise o wi r de N gg run , n t g nete tell . (Raise
r cu - a u s to night . )
’ Look here , Nigger ! Let me tell you a naked fac
r u u - (Raise a c s to night . )
’ You mought a been cu llu d widou t bein dat black ;
r - (Raise a u cu s to night . )
’ ’ ’ Dem ar feet look lak youse sho walkin back ;
r - (Raise a u cus to night . ) ’ ’ ’ o oo ch ar et a . s An y ha r, it l k lak a y p t ck (Rai e a
- ru cu s to night . )
’ ’ h illu ns o o Oh come long, c , c me l ng ,
’ ’ W ile dat moon are shinin bright .
’ ’ n o o d ow Let s git o b ard , an fl at n de river ,
’ - An raise dat t ucus to night .
9 1 NEGRO FOLK RHYMES
SWEET PINKS AND ROSES
’ s rawbeer ne SWEET pinks an rose , st s on de vi s ,
’ ’ one ou o er ou n . Call in de y l ves , an kiss if y mi ds
Here sets a pretty gal, Here sets a pretty boy ’ a Cheeks p inted rosy, an deir eyes battin black.
’ ’ You al kiss dat pretty g , I ll stan back.
9 2
NE GRO FOLK RHYME S
T HE THRIFTY SLAVE
E wuk J S all day,
’ Den go huntin in de wood .
’ ’ Ef you cain t ketch nothin ,
’ ou n Den y hain t o good .
’ ’ Don t loo k at Mosse r s chickens,
’ ’ e e roostin Caze d y r high .
h r B ig pig, liddle pig, root og o die !
WILD NEGRO BILL
’ IS E wild Nigger Bill
Rd e er H Frum e p pp ill .
’ ’ wo k I never did , an I never will .
’ Ise done killed d e Boss . ’ I se knocked d own de hoss .
I eats up raw goo se widou t apple sauce !
’ -a-wa I se Run y Bill ,
I knows dey mought kill ;
’ ’ ole oss o But M er hain t c tch me, an he never will ! 9 4 NE GRO FOLK RHYME S
Y OU LOVE YOUR GIRL
’ ? Y OU loves yé gal
Well , I loves mine . ’ ’ ? YO gal hain t common
’ Well, my gal s fine .
o s al I l ve my g ,
’ She hain t no goose
’ a n Blacker blackberries ,
’ Sw n eeter a j uice .
FRIGHTENED AWAY FROM A CHICKEN ROOST
WE NT ow t o I d n o de hen h use on my knees ,
’ An I thought I beared dat chicken sneeze .
’ ’ ’ Yo u d o ughter se ed dis Nigger a-gitt in way frum
dere ,
’ ’ ’ ’ w os s his But t usn t nothin but a ro ter ayin prayer. ’ w ’ How I wish dat rooster s prayer ould on ,
o l Den perhaps I mo ught eat dat e gray hen .
9 5 NEGRO FOLK RHYMES
BEDBUG
’ D - s ot d e o E June bug g g lden wing, De Lightning-bug de flame ;
’ s ot no w all De Bedbug g ing at ,
But he gits dar j es de same .
’ k - s ot k s De Pun in bug g a pun in mell ,
De Squash - bug smells de wust
u ffu m l But d e p e of dat o e Bedbug, I ’ t s enough to make you bust .
’ W en dat Bedbug come down to my w ’ I ants my walkin cane .
’ ’ G o git a pot an scald im hot !
-b Good y, Miss Lize Jane !
HOW T O G ET T O GLORY LAND
I u w i F yo ants to g t to Glory Land ,
’ I ll tell you what to do :
’ es s o w J grea e y heels id mutton su e,
’ ’ s ou W en de Devil atter y .
’ ’ ’ ’ es s O J grea e yé heel an grease y han ,
’ ’ ’ s wa —o o An lip y ver int Glory Lan . 96
NEGRO FOLK RH YM E S
T HE MULE ’S KI CK
or not Is dis me, me , ? Or is de Devil got me ? Wus dat a muskit shot me
’ Is I laid here more n a week
’ ole do k amazin Dat mule ick , ’ ’ ’ ’ ’ - An I spec s h e s now a grazin Q , ’ On o s de t ther ide de creek.
CHRISTMAS TURKEY
t w - I P RAY ED o de La d fer tucky o.
' ’ Dat tucky wouldn come .
’ ’ ’ ’ I prayed , an I prayed til I se almos daid .
N u o t cky at my h ome .
’ Chrismus she os Day , alm here ;
sh a d . My wife , e mighty m Sh w ’ ’ m ’ e ant dat tucky mo an o . ’ w ’ im An she ant mighty bad .
’ e s s o on I prayed til d cale c me my kn ees, ’ n k An still o tuc y come .
’ ’ m se f to I tuck y my tucky roos , ’ k An I brung my tuc y home. 9 8 NE GRO FOLK RHYME S
A FULL POCKETBOOK
DE oo s de g e at barn , he feel mighty funny , ’ z d e k fi Ca e duc n d a po cketbook chug full 0 money .
“ ” oos sa : is ou S o ? De g e y Whar y gwine, my nny ’ “ ” -b H : Now oo o . An de duck, he say g d y, ney
’ rba c r De duck chaw te ke an de goose drink wine ,
’ Wid a stuffed pocketbook dey sho had a good time ;
De grasshopper played de fiddle o n a punkin vine
’ n o Till dey all fall over o a s rter dead line .
NO ROOM T O POKE FUN
’ ’ N Ev mi n if my nose are flat,
’ ’ An my face are black an sooty ;
’ o De Jaybird hain t so big in s ng,
' ’ ’ An de Bullfrog hain t no beauty .
CROOKE D NOSE JANE
I COU RT ED a gal down de lane .
wu s oo os . Her name , it Cr ked N e Jane
s wu s r ed Her face wu s white speckled , her lip all ,
’ - An sh e look j es as lean as a weasel half fed . 9 9 NE GRO FOLK RH YM E S
BAD FEATURES
’ BLU E gums an black eyes ;
’ ’ Run round an tell lies . dd Liddle head , li le wit ;
not . Big long head , a bit
o s Wid his long croo ked t e ,
’ ’ An his heel right roun ; Dat fia t-footed Nigger
’ Make a hole in de groun .
MISS S LIPPY S LOPPY
’ ut n be OLE Slippy Sloppy j ump up o d,
’ ’ h r Den ou t n de winder s e poke e nappy head ,
“ ’ Jack ! 0 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 ;
’ ’ a fox dem so ds An w en d t hear turble un ,
’ ’ ’ He w d his o d s ar by his hea an hide all r un ,
’ Dat he d on t want no dinner , but a hole in
ground .
1 00
NEGRO FOLK RHYMES
’“ PAGE ’ S GEE SE
’ OLE man P age ll be in a turble rage ,
’ ’ u s . W en he find o t, it ll rai e his dander
his s on a- Yankee soldiers bought gee e , fer e cent piece , ’ d An sent de pay home by de gan er .
T O WIN A YE LLOW GIRL
in lle IF you wants to w a ya r gal , I tell you what you do ;
“ ” ’ You borrow Mosser s Beaver hat,
’ i - An slip on h s Lo ng tailed Blue .
SEX LAUGH
’ YOU S E heat ed a many a gal laugh , ’ “ — — — ” An say : He ! He h e ! He h e he !
’ ou no bo But y hain t beared y laugh , ’ “ ” An say : She ! She-she ! She-she-she !
"‘ T h e Nor thern sold i ers d u r i ng th e Civi l Wa r took a ll ’ f s x e r o a S outhern pl a nter s gee e e c pt one l one g a nd e . nn f or ea c oos a k n i n o a ma T hey put one pe y, h g e t e , t s ll ’ a a r ou n d th a b g a nd ti ed thi s ba g e g nd er s neck. T hey then sent him home to h i s owner wi th th e p ay of one a n h penny for each goose t ke . T e Negroes of th e com m ni a d u i s i n u ty a t once m e p th l ttl e so g. 1 02 NE GRO FOLK RHYM ES
OUTRUNNING T HE DEVIL
WENT I upon de mountain ,
’ ’ An I seed de Devil comi n .
’ ’ o o I retched an g t my hat an c at , ’ ’ r nnin An I beat de Devil u .
’ ’ w os fiel As I run d do n acr s de ,
A rattlesnake bit me on de heel .
’ ’ ’ I rears an pitches an does my bes ,
’ ’ ’ o An I falls right back in a h rnet s nes .
’ u For w en I w s a sinnah man ,
’ ’ I rund by leaps an boun s .
’ I wus afear d de Devil ould ketch me ’ u Wid his ole three legged h o n s.
’ Christun But now Ise co me a ,
’ I kneels right do wn an prays,
’ An den de Devil runs from me
’ Ise tried dem other ways .
103 NE GRO FOLK RH YME S
HOW T O KEEP ORKILL T HE DEVIL
IF o u w s to see s y ant de Devil mile , w Simpu lly do lak his o n chile .
w s to see de s If you ant Devil git punk, ’ s Swallow whi ky , an git drunk .
s to see If you want de Devil live,
’ ’ Cuss an swar an never give .
If you wants to see de Devil run ,
’ Jes tu n a loose de Gospel gu n .
see If you wan ts to de Devil fall , b Hit him wid de Gospel all .
e be If you wants to s e de Devil g,
Nail him wid a Gospel peg.
s If you wants to see de Devil ick,
s Beat him wid a Gospel tick .
to see d e If you wants Devil die ,
Feed him up on Gospel pie .
’ w s ro o But de Devil ar dat i n sh e,
’ ’ ’ s u An if you don t watch , he ll lip it on yo . 104
NEGRO FOLK RHYME S
* T HE NASHVILLE LADIES
r DEM Nashville ladies d ess up fine.
’ G ot lon gpail hoopskirts hanging down behi n !
’ G ot deir bonnets to deir sh oulders an deir noses in de sky !
i i d i ! oo ho o r ! B g p g ! Lid le p g R t g, die
T HE RASCAL
’ ’ IS E s s de bigge ra cal fer my age .
n i I ow speaks from d s public stage .
’ ’ Ise s o cow I o al t le a ; se st le a c f,
’ ’ ’ ’ An dat hain t more an j es bout half .
os !— o of so ! Yes , M ser L ver my ul “ ? How many chickens h as I stole
’ ’ ’ las o Well ; three night, an tw night befo
’ ’ ’ ’ An Ise gwine for e long to git four mO
’ ou see o s But y dat h ne B illy Ben ,
’ H o e d ne e t more dan erry three men .
’ ’ He e t a ham den e t a side ;
’ H wo l mo ou kn e u d a e t , but y ow he died . ‘ T h e n a me of th e p l a ce wa s u s ed where th e r hyme wa r e a s pe ted . 106 NE GRO FOLK RHYM E S
COFFEE GROWS ON WH ITE FOLKS ’ TREES
’ ’ OFFE E o s on w C gr w ite folks trees,
’ e it But de Nigg r can g dat w en he please.
’ ’ o s o s k De w ite f lk l ve deir mil an brandy, ’ w ’ But dat black gal s s eeter dan lasses candy .
’ off o s on w o s s C ee gr w ite f lk tree ,
’ ’ ’ s s An dere a river dat run wid milk an brandy .
’ o is o De r cks br ke an filled wid gold ,
So aller al o s - dat y g l ve dat high hat dandy.
AUNT JE MIMA
L o so O E Aunt Jemima gr w tall ,
’ ’ Dat she couldn see d e groun
’ t o sh She stumped her oe, an d wn e fell t w Fro m de Blackwoods clean o to n .
’ i o n W en Aunt Jemima g t in t w ,
’ “ ” o w An see dem t ny ays,
’ Sh e na tchully faint an back she fell w T o de Backwoods har she stays . 10 7 NEGRO FOLK RHYM E S
T H E MULE ’S NATURE
IF ou s to y see a mule tied up a tree ,
’ Y ou o hi o m ught pull s tail an think ab ut me .
’ Fo r o ow o f if a Nigger d n t kn de natcher a mule ,
’ k s no iffu nc w o f It ma e d e hat c mes o a fool .
’ I M A ROUND-TOWN GENTLEMAN
’ ’ H 1N T no o I A wag n , hain t no dray,
’ o to ow wid o 0 Jes c me t n a l ad hay .
’ I hain t no cornfield to go to bed
’ - Wid a lot 0 hay seeds in my head .
’ “ ” ’ ’ Ise a round -town Gent an I don t choose
’ o wi ou s o T o wuk in de mud , an d d t h es .
THIS SUN IS HOT
DI hot S sun are ,
Dis hoe are heavy, Dis grass grow furder dan I can reach ;
’ An as I looks l ’ At dis Co tton fie ,
’ ’ ’ I thinks I mus a been called to preach . 108
NE GRO FOLK RHYME S
WATERMELON PRE FERRED
’ D T A hambone an chicken are sweet .
’ o shol Dat p ssum meat are y fine .
’ —n w u But give me, o don t yo cheat !
Oh ou o ! ( , I j es wish y w uld give me )
’ wat rmillion smilin n Dat e , o de vine.
THEY STEAL GOSSIP
kn ow
’ So o s me folks say dat a Nigger w n t teal, ’ But Mo sser cotch six in a watermi llion fiel
’ ’ ’ ’ ’ -c t - lu n - A u tin , an a p ggi an a tearin up
s vine , ’ ’ ’ A- c watermillion - a i atin all de s, an a st ck n
de rinds .
h -h u /Y es I hear ed (la t U h ,
’ ’ le oss s o middlin O M er t le a 0 meat,
Ole M issus stole a ham ;
’ s o to d e - Dey ent em b fe Wuk house ,
’ e h ad to An d y leave de lan d .
1 10 NE GRO FOLK RHYMES
FOX AND RABB IT DRINKING PROPOS ITIONS
Fox on low o de gr und,
on Rabbit de hill .
“ ’ S s : ay he I ll take a drink, ’ An ou leave y a gill .
fox sa : Ho De y ney, (Y ou sweet liddle elf ! )
Jes hand me down de whole cup ; ” s I want it fer myself .
A TURKEY FUNERAL
DIS tucky once on earth did dwell ; ’ “ ” An Gobble ! Go bble ! Gobble !
’ now s o But he gives me bigge j y,
’ s hi An rest from all s tro uble .
’ now h e s so Yes, happy, am I ;
’ ’ No bankerin fer a feas
’ se Is s f Becau e tu fed wid tucky meat,
’ An he struts in tucky peace .
III NE GRO FOLK RHYM ES
OUROLD MULE
’ WE had an ole mule an he wouldn go gee
’ - So I knocked im down wid a single tree .
w s T o daddy dis us some mighty bad new , ’ w So he made me jump up an outrun de Je s .
T HE COLLEGE OX
’ ? OLE OE! Ole Ox ! How d you come up here ’ ’ o sh6 l r Y u se p owed de cotton fields fo many a ,
many a year.
’ ’ ’ You se been kicked an cuffed about wid heaps an
heaps abuse .
’ ow ! Now ou o s so 0 N , y c me up here fer me sort
o u C llege se .
CARE IN BREAD- MAKING
’ ’ W EN ou s s al 0 y ee dat g mine , ’ es er ou J tell fer me , if y please ,
’ Nex time she goes to make up bread
’ T o 1 011 er up dirty sleeves . 1 1 2
NE GRO FOLK RHYM ES
I ’LL EAT WHEN I ’ M HUNGRY
’ ’ ILL w Ise o n r eat hen h g y,
’ ’ ’ An I ll drink when I se dry ;
’ ’ whi efolk An if de t s don t kill me,
’ I ll live till I die.
d lo In my lid le g cabin ,
’ Ever since Ise been born ;
’ ’ Dere hain t been no nothin
’ s o Cept dat hard alt parch c rn .
’ o h r But I kn ws w a s a henhouse ,
’ An de tucky he charve ;
’ ’ ole o o An if M sser d n t kill me ,
’ r I cain t never sta ve.
HEAR- SAY
’ LL How do o u do ? H E O! Br er Jack . y
’ ’ ’ ’ - u Ise been a hearin a heaps 0 things bout yo . ’ ' Ill j es declar It beats de Dicku n s !
’ ’ ’ ’ Dey s been tryin to say you s been a - stealin chickens !
1 1 4 NE GRO FOLK RH YM E S
NEGRO SOLDIER’ S CIVIL WAR CHANT
’ OLE Abe (G od bless is ole soul ! )
’ G o t oo a plenty g d victuals, an a plenty ’ o s cl e .
" ’ G ot o an l p wder, shot , an ead ,
’ ’ T o bust in Adam s liddle Confed
se In de hard times .
’ wus e Oh , once dere wus union , an den dere peac ;
s . De slave , in de cornfield , bare up to his knee
’ ’ ’ s S esesh s But de Rebel in gray, an in de way,
’ ’ An de slave ll be free
In dese hard times .
PARODY ON NOW I LAY ME DOWN T O SLEE P ”
” U H - H U H : Now I lays me down to sleep l
’ ’ r While dead ou dles o bedbugs 0und me creep ,
’ “ ” efO w Well : If dey bites me b I ake, ’ I hopes deir ole j awbones ll break .
Abraham Li nco l n . 1 15 NEGRO FOLK RHYMES
’ Y OU ! I LL G ET , RABBIT
’ o RAB BIT ! Rabbit ! You se g t a mighty habit,
’ A- ru nni n through de grass,
’ Eatin up my cabbages ;
’ ’ But I ll git you shore at las .
Rabbit ! Rabbit ! Ole rabbit in dc bottoms,
’ ’ - A playin in de san ,
’ to- morn in By morrow ,
’ ’ fr in - You ll be in my y pan .
T HE E LE PHANT
M Y mammy gimme fifteen cents
’ to see ele ha n d Fer dat p j ump e fence .
’ H e so d wh j ump high , I di n see y,
d o r o no If she gimme a lla he m ught t cry.
S o a to o I axed my m mmy gimme a d ll ar ,
’ ’ to o l h Fer g an hear de e ep an holler .
H e o so o d s e h ller l u , he ke red de crowd .
’ so Nex he jump high , he tetch de sky
’ ’ ’ ’ ’ An he won t git back fore dc fo th 0
July. 1 1 6
NEGRO FOLK RHYM E S
LOOKING FORA FIGHT
T o ow u dder I WEN d wn t n de y night,
’ ’ ’ ’ A- a -w ntin raisin san an a a fight .
’ H a d o o a f rty d llar razzer , an a ’ un gatlin g , Fer to shoot dem Niggers down one
by one.
I ’LL WEAR ME A COTTON DRESS
OH ou ? h u ? , will y wear red O , will yo wear red
Oh ou ? , will y wear red , Milly Biggers
“ ’ r d I won t wear e ,
’ ’ It s too much lak Missus head .
’ l o ss I l wear me a c tton dre ,
’ i rs ak- Dyed w d coppe e an o bark .
u ? u ? Oh , will yo wear blue Oh , will yo wear blue
u ? Oh , will yo wear blue , Milly B iggers
“ ’ I won t wear blue,
’ ’ I lak s s s t s too much Mis u hoe .
’ Ill r ss wea me a cotton dre ,
’ i r a k- Dyed w d coppe se an o bark . 1 1 8 NE GRO FOLK RHYM ES
? Y ou sholy would wear gray Y ou sholy would wear gray ?
Y ou shol wo w ? y uld ear gray , Milly Biggers “ ’ o I w n t wear gray,
’ ’ too It s much lak M issus wa y. ’ ot I ll wear me a c ton dress,
’ co er - Dyed wid pp se an oak bark .
ou w ? Well , will y wear hite Well , will you wear white ?
w ou s ? Well , ill y wear white , M illy Bigger
“ ’ o I w n t wear white ,
’ ’ o I d get dirty l ng fore night .
’ o o ss I ll wear me a c tt n dre ,
’ r a — Dyed wid coppe se an o k bark .
Now ou w ? Now w ou , will y ear black , ill y wear black ? ? N w ou w k s ow, ill y ear blac , Milly Bigger
“ I mought wear black,
’ ’ Case it s de color 0 my back ;
’ o ss An it looks lak my cott n dre ,
’ r a k- Dyed wid coppe se an o bark .
‘ r s i co e s or su a e of i on. Coppe e s pp ra , lph t r
1 19 NE GRO FOLK RHYME S
HALF WAY DOING S
’ MY B ru d r S s dear d e s an ister ,
As t - I comes here o day ,
’ I hain t gwineter take no scripture verse ’ w Ise win t r Fer hat g e e 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
’ 7 ” Fer dis worl nor de nex
’ Dis oi s ru i half way d n , B dder n ,
’
o d o sa . W n t never , I y
’ ’ 0 t o wu k o G o y , an git it d ne ,
’ ’ An den s de time to play.
’ Fer s w en a Nigger git lazy ,
’ o s to s o An st p take h rt naps ,
’ De weeds an grass is shore to gro
’ s dd out his s An mu er crap .
’ ’ ’ Dis worl dat we s a livin in
Is sumpen lak a cotton row
’ ’ ’ Whar each an ev ry one 0 u s
i r Is got h s ow to hoe.
1 20
NE GRO FOLK RHYMES
HE PAID ME SEVE N (PARODY)
” Fa r Heaben ! OU R dde , Which are in
White man owe me leben and pay me seben .
“ ’ ’ ” D y Kingdom co me ! D y Will be done ! ’ ’ ’ o An if I hadn t tuck dat, I w uldn git none.
E S E ES S PARODY ON R IGN , MA T R J U , REIGN ! ”
h o ! OH rain ! Oh rain ! O rain , go d Mosser
os ! ! Rain , M ser , rain Rain hard
’ ’ Rain flour an lard an a big h og head
Down in my back yard . f
’ ’ An w en you comes down to my cabin ,
’ el Come down by de corn fi .
’ ’ 0 If you cain t bring me a piece meat, ’ Den bring me a peck o meal .
Oh ! Oh r ! Oh oo o ! rain ain rain, g d M sser mO’ Dat good rain gives rest. “ ’ on ? You ! What d y say Nigger, dar “ ” Wet ground grows grass best .
1 22 NE GRO FOLK RHYM ES
A REQUE ST T O SELL
G WIN ET ER to s ax my daddy ell ole Rose ,
’ ’ 80 s so I can git me me new clos.
G wineter ax d to s l my dad y ell o e Nat,
’ ’ 80 s b n ew I can git a ran hat .
G wineter ax to s ole s my daddy ell Brui e ,
Den so B r I can git me ogran shoes.
’ ’ “ Now winet fix m s , I se g er y e f j es so, ’ ’ m se f ow o S l An take y d n t Big hi oh .
’ Ise gwine right down to Big Shiloh ’ i ’ T o take .dat t other N gger s beau.
WE ’LL STICK T O T HE HOE
’
LL h oe o o . WE stick to de , till de sun g d wn
’ ’ en oos ow We ll rise w de r ter cr ,
’ ’ o to fiel r su n s ho t An g de wha de hine ,
’ s o T o do fiel whar de ugar cane gr w .
’ o ! Y es Chilluns, we ll all g
’ w su n s h We ll go to de fiel har de hine ot.
’ s o T o de fiel whar de ugar cane gr w . 1 2 3 NEGRO FOLK RHYME S
’ ’ h o o s d e wu k ! O , sing l ng b y , fer hain t hard
’ Oh scrape an clean up de row.
’ s s o w sun Fer de gra s mu n gr w , hile de h t shine o ,
’ el w d e s w In de fi har ugar cane gro .
h illu ns . NO NO N0 , C , !
’ s ow w i de su n s Dat grass mu n gr , h le hine
hot , ’ w In de fiel har de sugar cane grow .
’ ’ o k o de de D n t thin b ut time , fer time
’ hain t long .
’ ’ Yo life soon come an go ;
’ o d - fie w a e su n sh hot Den g o bye l h r d ine , ’ w T o de fiel whar de sugar cane gro .
’ Chillu ns o ! Yes, . We ll all g
’ - fiel w s hot Good by to de har de sun hine , ’ w T o de fiel whar d e sugar cane gro .
A FINE PLASTER
’ ’ ’ W EN it s s e sk s h ep in an bee wax ,
’ It shOs a mighty fine plaster
’ mo ou s o off De y trie t pull it ,
’ o e s De m it sticks d fa ter . 1 24
NE GRO FOLK RHYMES
MASTER KILLED A BIG BULL
OS S ER M killed a big bull ,
ss s coo d s Mi u ked a i h full, ’ m Didn t give poo r Nigger a ou f full . Humph ! Humph !
’ os M ser killed a fat lam .
ss s r s Mi u b ung a ba ket ,
’ oo An give p r Nigger de haslet . Eh -eh ! Eh -eh !
Mosser killed a fat h og
’ ss s mi li Mi u biled de dd n s,
’ ’ oo An give p r Nigger de chitlin s . Sho!
YOU HAD B ETT ER MIND MASTER
’ ’ ’ WAY ow on er os o d n y in P sum Tr t ,
’ ’ (In ole Miss sip whar de sun shines hot )
’ ’ ’ Dere hain t no chickens an de Niggers eats c on ;
’ ’ ’ Y ou h e se de s o ain t n ver e d lak ince y use been bo n ,
’ ’ ’ o e mi n o s k Y u d b tter M s er an eep a stiff lip ,
’ ’ ’ ’ ’ S o s ou wo it sOl d o to ole Miss si y n t g wn p . 1 26 LOVE RHYME S ECTION
PRETTY LITTLE PINK
MY pretty liddle Pink ,
o I nce did think,
’ Dat we-u ns sho would marry ;
’ But I se done give up ,
’ H ot no o ain t g h pe, ’ ot t I hain t g no time o tarry .
’ o f s I ll drink c f ee dat flow ,
o From oaks dat gr ws ,
’ Long de river dat fl ows wid brandy .
BITTE R LOVE RS ’ Q'UARREL—ONE S IDE
Y OU nasty dog ! Y ou dirty hog !
o You thinks somebody loves y u .
I tel ls you dis to let you know ’ I thinks myse f above you . 1 2 7 NEGRO FOLK RHYME S
ROSES RED
’ ’l red vi ets . ROS E S , blue
Sugar is sweet but not lak you .
’ d d os s De vi lets fa e, e r e fall ;
ou s . But y git sweeter , all in all
’ As shore as de grass grows round de t s ump ,
’ Y ou is my darlin Sugar Lump .
’ ’ sun o s is o W en de d n t hine de day c ld ,
u do n ol But my love fer yo ot git d .
’ o s sk is De cean deep , de y blue ;
’ ou Sugar is sweet , an so is y ;
’ o sk De cean waves an de y gits pale,
’
o an . But my l ve are true, it never fail
Y OU HAVE MADE ME WEEP
’ ’ YOU S E made me weep , you se made me
our m n ,
’ ’ s so ow You se made me tear an rr .
’ o u w al S o far y ell , my pretty liddle g ,
’ w - o Ise gwine a ay to m rrow. 1 28
NEGRO FOLK RHYME S
VINIE
’ L of o s tea I OVES c fee , an I l ve .
x s ou V o s ou o ? I a e y , inie , d e y l ve me
’ ’ ’ s s s V My day tudy inie , an my midnight
s dream ,
’ s s tu nnu s My apple , my peache , my p , an greens .
’ ’ Oh oo oss to , I wants dat g d p um , an I wants be free ;
’
o no s V o . But I d n t need ugar , if inie l ve me
’ ’ w is w d s . De river i e , an I cain t ell tep it
’ ’ o s ou V ou n o I l ve y , dear inie ; an y k w I cain t
’ he p it .
’ is sw is s Dat sugar eet , an dat butter grea y ;
’
ou sw o oneas . But I loves y , eet Vinie ; d n t be y
’ en a o o s w S ome loves t , n s me l ve t enty,
’
ou V is . But I loves y , inie , an dat a plenty
’ l wi Oh s r s ak se do . ilve , it hine , an tin
’
wa o V mus . De y I l ves inie, it be a sin
’ i d is so s . Well, de ce ar green , an de pine
’ od ss ou ! s u u G ble y , Vinie I wi h yo s mine . 1 30 LOVE S ONG RHYM E S ECTION
S HE H UGGED ME AND KI SSED ME
' S EE D S m I her in de pringti e,
’ s I ee d her in de Fall ,
’ s o o I ee d her in de C tt n patch , i A came ng from de Ball .
’ Sh e sh e s hug me , an ki s me ,
’ ’ She wrung my han an cried .
’ She said I wu s de sweetes thing
Dat ever lived or died .
’ She hug me an she kiss me . ’ ’ | Oh Heaben ! De touch 0 her han
She s aid I wus de pu ttiest thing
’ In de shape 0 mortal man .
o I told her dat I l ve her ,
Dat my love wus bed -cord strong ;
’ ’ w en s a Den I axed her he d h ve me ,
’ “ ” An she j es say G o long ! 1 31 NE GRO FOLK RHYME S
IT IS HARD T O LOVE
’ ’ IT S d to o har l ve , yes , indeed tis .
’ ’ It s to hard be broke up in min .
’ ’ o s d so Y u e all lugge up in me gal s heart, ’ But you hain t gwineter lu g up in
mine .
I ME AND MY LOVER
’ M E o w an my L ver , e fal l ou t. ’ ? How d you reckon de fuss begun
’ She laked licker , an I laked fun ,
’ u wa ss An dat w s de y de fu begun .
’ w o r e ou t . Me an my L ve , fall . ’ ’ ’ ? W at d you reckon de fuss wu s bo ut
’ Sh s an o e loved bitter , I l ved kraut,
’ ’ ’ a wu An d at wu s w t dc fuss s bout .
’ i ’ Me an my Lover g t clean part . ’ ? How d you reckon dat big fuss start
’ ’ ’ i z I o She s got a g zard , an se g t a heart , ’ ’ bi An dat s de way dat g fuss start.
1 32
NE GRO FOLK RHYME S
REJECTED BY ELIZA JANE
’ ’ W E N I went cross de cotton patch h ’ I give my o n a blow .
I thought I beared pretty Lizie say ’ ” Oh on er o ! , y c me my beau
So : Lizi to I axed pretty e marry me , ’ ’ An what d you reckon sh e said ?
’ She s she wo aid uldn marry me , ’ ev bo If y dy else wu s dead .
As w new o I ent up de cut r ad ,
’ An she go down de lane ;
Den I thought I beared somebody
ood - l G bye , o e Lize Jane !
’ i Lizi : es t o e o . Well J g l ng, , my true l ve ’ o s Lizie Git l ng, Mis Jane .
’ Perhaps you ll sack Ole Sour Bill ’ “ S An git choked on ugar Cain .
= a o e S a ck T o r ej ect a s l v r.
1 34 COURTS H IP RHYME S ECT ION
ANTE BELLUM COURTSH IP INQUIRY
’ ’ ? (He ) Is you a flyin lar k or a settin dove
’ ’
She Ise fl in o o . ( ) a y lark , my h ney L ve
’ ’ H ou 0 one d or 0 two ? ( e) Is y a bird fed er , a bird
’ ’ ’ She 0 o ne o s to ( ) I se a bird fedder, w en it c me
you .
He M am ( ) Den ,
’ h as d s o I e ire , an quick temptati n ,
’ T o to o j ine my fence yé plantati n .
INVITE D T O TAKE T HE ESCORT ’S ARM
IS o s ou s w ? M S , d e y lak tra berries
are are ale as
Den hang on de vine . as ale ale ale
ou ? M iss , does y lak chicken are as as
Den have a wing dis time . I3S I NE GRO FOLK RH YME S
SPARKING ORCOURTING
’ IS E heaps older da n three.
’ Ise heaps thicker dan barks ;
’ o s An de lder I gi t ,
’ s s De mo harder I park .
’ I sparks fas t an hard ,
’ o For Ise fea red I m ught fail .
’ ’ ’ ole Dough Ise gittin ,
’ ’ I don t co t la k no snail .
A CLANDESTINE LETTER
se t ou t If I n y a let er ,
de i k By cr c ets,
o d i s Thr ugh e th cket , ’ ? How d you answer bet ter
’ ’ sen ou r I d y a lette ,
d o By c m le ,
’ Not to be t61 ;
’ ’ m6 secrett r Fer dat s e . 1 36
NE GRO FOLK RHYMES
LET ’ S MARRY COURTSHIP
r o o a o mar ria e with a r ovisiona l a c (A p p s l f g , p capta n ce)
H E h ss Lizie how o s ou ! ( ) O Mi , I l ve y f ’ ’ ’ My li e s j es los if you h ain t true .
ou o lak If y l ves me I loves you ,
’ u No knife cain t cut o r love in two.
’ filli ’ (She ) Grapevine warp , an cornstalk n ;
’ ’ ’ Ill marry you if mammy an daddy s
’ willin .
’ (He) Rab-bit h op an long dog trot !
’ “ e s it sa t L t g married if dey y no .
COURTS H IP
(A pr oposa l of mar r iage wi th its a ccepta nce)
’ ’ IND ss : Ise on s 0 c o K Mi de tage a ti n ,
’ Pleadin r o ha d fer satisfacti n ,
’ ’ Pleadin fore de time- th ief late ; ’ * “ Da rfore , Ma m , now, cra ” venate .
r a n a o s C v e te c n i d er. NEGRO FOLK RHYMES
If I brung to you a gyarment ;
T o wi be cut dou t scisso rs , ’ An to be sewed widout thread ; H ow (I ax you ) would you
make it , ’ Widou t de needle sewin ’ An widou t de cloth spread ?
’ Suh : I d make dat gyarment
o o Wid l ve fr m my heart, ’ Wid tears on yé head ; o We never w uld part .
I WALKE D T HE ROADS
L r s . WE L : I walked de oad , till de roads git muddy
’ ’ o al I talked t dat pretty g , till I couldn stan
study.
“ ” Den : I say : Love me liddle, I say ; Love me long ‘ ’ I say : Let dat liddle be doggone strong !
’ o For, shore as dat rat runs cr ss de rafter, ’ ’ ’ s de al o So shore you e g , y u se de gal I se ” r a fte . 1 39 NE GRO FOLK RHYME S
PRESENTING A HAT T O PHOEBE
S T : H wu s we IS ERPH OEBE appy ,
’ we sot W en under dat Juniper tree. ’ ’ dis 0 Take hat, it ll keep y head w arm .
’ i l u n dis k ss t l do o o . Take i , y harm
’ S s o : o s e re few i ter Ph ebe De h ur , d y ;
’ ’ But dis h a t ll say Ise thinkin bout
u yo .
’ ’ ’ S ar it s s s it s s ug , ugar ; an alt, alt
’ ’ ’ ’ ou o o sho If y d n t l ve me , it s yé
own fault .
WOOING
’ W AT is dat a wukin
’ ’ on de w At yé han bill all , ’ ’ ’ ’ o erit res S o s y sp , it cain t , ’ ’ ? u n An a gemm s heat , it call
’ Is you lookin fer sweeter berries ’ ? G rowin on a higher bush
’ An does my combersation suit ? ’ ? not w at o s ou w If , d e y ush 1 40
NE GRO FOLK RHYME S
PRETTY POLLY ANN
’ wi IS E g neter marry, if I can .
’ w r I se g inete marry pretty Polly Ann .
I axed Polly Ann , fer to marry me .
’ ’ ’ She say she s a-lookin fer a Ni gger dat s
free .
’ Pretty Polly Ann s j es dressed so fine !
’ ’ I ll bet five dollars she h ain t got a dime.
’ ’ - Pretty Polly Ann s j es a puttin on ai rs,
’ Sh o o c e won t notice me, but n b dy ares .
’ ’ Ill o o a- oo a dr p P lly Ann , l kin lak a cr ne
’ ’ ’ I spec s I ll marry Lize Jane . MARRIAGE RHYM E S ECTION
S LAVE MARRIAGE CERE MONY SU PPLEMENT
’ DARK an sto rmy may come de wedder
’ I j ines dis h e- male an dis she-male to
gedder .
Him s Let none , but dat make de thunder ,
’ - - d Put dis h e male an dis she male asun er .
’ I d a rfore no unce you bo fe de same .
’ ’ ’
oo o o . Be g d , g l ng, an keep up yé name ’ ’ u o not De broomstick s j mped , de w rl s w ide .
’ ’ wn S ! yé o . alute yé bride
143 MARRIED LIFE RHYME S ECT ION
T HE NEWLY WEDS
’ “ S ow H MONT : et d n in my cabin , oney !
’ ’ ’ ” Nex Mont : Stan up , my Pie.
’ : Yo o u Third Mont u g to wuk , yo Wench ! ” You well to wuk a s I !
WHEN I G O T O MARRY
’ W EN o s to r I g e mar y , i I wants a gal w d money. I wants a pretty black-eyed gal ’ “ H ” T o kiss an call me oney .
’ w n o s to Well e I g e marry ,
I don t wanter git no riches .
’ I wants a man bout four
foot high ,
’ ’ w a s 8o s I can r de britche . 1 44
NE GRO FOLK RHYMES
’ ’ r So on a Mond y mo nin I tuck her fer my wife .
’ ’ ’ Of u tin oo se I w s spec an agreeable life .
’ ’ Chu d m rn i h c u But on a es y o n s e h ned up her pipe,
’ ’ ’ ’ ’ An sh e bused me more an I d been bused all my
life .
’ ’ ’ On Wednesd o o o a y evenin , as I c me l ng h me,
’ I says to myse f dat she wu s all my own ;
’ ’ hu rs u An on a T d y night I went o t to de woods, ’ o o t An I cut me tw big fine t ugh lea herwoods.
’ ’ ’ ’ So o Fr id mornin she o er s n a y w en r ll me eye ,
’ ’ r r s r i I etched fer my leatherwoods to give e a p se,
o oo s wuke Dem l ng keen leatherw d d mighty well ,
’ ’
es . An er tongue, it j rattle lak a clapper in a bell
’ ’ On a S a dd y morn in sh e sleep so rter late ;
’ ’ ’ ’ h e u s w t de An de las time I see d her , s g ine ou
gate .
’ ’ u t I wu s feedin at de stable , lookin o through a
crack,
’ ’ ’ An sh e lef my log cabin fo re I could git back .
’ ’ n S m rnin as on O a und y o , I laid my bed , ’ w I didn have no Nigger ife to bother my head . ’ ’ i ’ ’ d Now whisky an brandy j ug s my b ges bes frien ,
’ ’ o s is o its An my l ng week wuk ab ut at end . 1 46 NEGRO FOLK RHYMES
MY FIRST AND MY S ECOND WIFE
’ MY fust liddle wife wu s short an fat. H l er face wus as black as my o e hat,
’ Her nose all flat , an her eyes sunk in ,
’ An dat lip hang down below her chin .
’ Now wusn t I so rrowful in mind ?
’ ’ W en I went down to dat wife s brother ;
“ ’ wineter He said : Sh e u s tired . G
’ ” marry nother .
oo If I ever ketches dat city C n ,
He railly mought see my razzer soon .
’ ’ ’ Den I spec s he d be troubled in mind !
’ ’ ss My nex wife h u g an ki me,
“ ” She call me Sugar Plum !
’ o She throw her arms r und me ,
’ Lak a grapevine round d e gum!
’ Wusn t dat glory to my soul !
’ o ; Her cheeks , dey r lak de cherry
’ it s os . Dat Cherry, lak de r e
Wid a liddle dimple in her chin ,
’ An ’ a liddle tu ned up nose ! ’ ! Oh, hain t I happy in mind I47 NE GRO FOLK RHYMES
’ w Ise ot ou Lo u now . g y , , fer my ife ’ “ ” w o s wa P ic ! Keep ne Co n y, My
’ ou o s ou now Caze , if y d n t , I tell y ,
Dat we all three mo ught die .
’ ’ Den we d be troubled in min
- BY E ! GOOD , WIF
H AD I a liddle wife ,
’ ’ ’ An I didn want to kill er ;
’ S er s o I tuck by de heel ,
’ ’ An I throwed er in de river .
“ -b ! oo -b Ho ! Good y , Wife G d y, ney
’ H ou adn been fer y ,
’ Id a had a liddle money .
My liddle fussy wife
’ ’ Up an s ay she mus have scissors ;
’ to An druther dan fight,
’ ’ r Id a throwed e in three rivers .
’ h ss d dem But s e cro e fingers , w en
ow d n , An ’ a liddle bit later
’ u n o She walk o t o de gr un .
1 48
NEGRO FOLK RHYM ES
LITTLE DOGS
I H AD a liddle dog ; h is name wus Ball ;
’ W en I give him a liddle , he want it all .
hi w I had a liddle dog, s name us Trot ;
his o H e helt up tail , all tied in a kn t.
hi w I had a liddle dog, s name us Blue ;
’ ’
n o mo . I put him o de r ad , an he al s flew
his wu I had a liddle dog, name s Mack ;
his I rid his tail fer to save back .
o his o e I had a liddle d g, name wus R v r ;
’ d d o . W en he died , he ie all ver
do h is I had a liddle g, name wus Dan ;
’ ’ ’ ’ im . An w en he died , I buried in de san
DO MY G , CUFF
H AD do his f I a liddle g, name wus Cu f ;
’ I sent im to town to buy some snuff.
’ b le an f He drapped de a , he spilt de snu f, ’ i An I guess dat speech s long enough . 1 50 NE GRO FOLK RHYME S
SAM IS A CLEVER FELLOW
’ SAY ! o b Is y peaches ripe , my oy, ’ ’ An is yo apples meller ? ’ G 0 an tell M iss Katie Jones S ’ Dat am s a clever feller .
’ S a ! o s bo y Is y cherrie red, my y, ’ ’ An is yé plums all yeller ? Oh please run tell Miss Katie Jones S ’ Dat am s a clever feller .
T HE GREAT OWL ’ S SONG
- ? AH H oo- H OO? Ah -hoo -hoo Ah -hoo-hoo
’ ’ ’ ’ o oo Kelline An wh ll c k fer , an who ll cook fer you
’ ’ will oo m se f wo o I c k fer y , I n t c ok fer you . Ah -hoo-hoo ! Ah - hoo- hoo Ah-hoo— l
Ah -hoo-hoo Ah-h oo-hoo Ah-hoo-hoo ! Ah
hoo p I wonder if Kelline would no t cook fer Hue
’ Fer dis is Big Sandy ! It s Big Sandy Hue l
Ah -hoo-hoo ! Ah-hoo- hoo ! Ah -hoo-hoo ! Ah
hoo 1 5 1 NEGRO FOLK RHYME S
- - — - — Ah h a hah Ah-h a hah Ah ha hah ! Ah hah
’ u l I thought you s o e Bill Jack as black as de tah . ’ “ Y o H u really must scuse me , my oney Lump Pa.
- — - — - - Ah h a h ah ! Ah ha hah Ah h a hah Ah hah
’ ’ ’ ’ Kelline o Bi S An since I se been , an y u se g andy Hue ;
’ ’ w oo m s f w o ou I ill c k fer y e , an I ill c ok fer y . ’ ’ o ou o s : I ll l ve y f rever , an ing in de dew
- - ' - — - - Ah hoo h oo Ah hoo hoo ! Ah hoo hoo ! Ah
hoo
— - - - — - - Y ES Ah hoo hoo Ah hoo hoo Ah hoo hoo ! Ah -hoo-all !
’ ’ ’ Now oo ou rs fs w , we ll c k fer e , but ho ll cook fer ? you all ’ ’ T om his S S o Fer Dick an wife, fer Pete nap an h e
Awl ,
’ o S o S o - oo H ows R ugh h t De h e b t , an de Lawd e kn ? who all
1 52
NEGRO FOLK RHYMES
A, B , C A B , . C, Do ubled down D
’ ’ so z ou e I se la y y ca in t s e me .
A, B , C, Doubled down D ’ h l ick r Lazy C i luns gits h y tea .
A, B , C)
o D ubled down D ,
“ ’ ” ’ o d Dat cat s in de cupb ar an hid . You
B C A) , ,
o o D ubled d wn D , ’ ’ o e o u Y u d bett r c me o t an wuk lak me.
NEGRO BAKER MAN
PAT T Y 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 goo d fer de ole San Man .
1 54 NE GRO FOLK RHYME S
STICK-A-MA-STEW
- - — ST I K A MA ST W o . C E , he went to t wn
’ S -a- —s w o tick ma te , he t re is gown . All dem fo lks what live in town
’ d r an dsome so Cain t men dat , hand me
gown .
’ BOB -WHITE S SONG
BOB -WH IT E ! Bob-white !
’ Is yé peas all ripe ? No not quite !
Bob-white ! Bob-white ! W ’ en will dey be ripe ? — T o- mor row l might !
Bob- white ! Bob-white !
Does you sing at night ?
No not quite !
! - Bob-white B ob white ! W ’en is de time right ? At can— l dle— l light ! ISS NEGRO FOLK RHYME S
COOKING DINNER
L G o : BI E dem ca bbage down .
’ o Turn dat h ecake round ,
’ oo o C k it d ne an brown .
: G wineter Yes have sweet taters too.
’ ’ H o s l ain t had n ne ince as Fall, ’ ’ wineter G eat em skins an all .
CHUCK WILL’ S WIDOW SONG
OH m - ni ber, nimber Will o !
oo d oo i -o i My cr ke , cr ked b ll
’ ’ ow r now n I se settin d n ight , o
er a r - de sweet p t te hill o.
—0 Oh nimber, nimber Will !
oo oo i -o My cr ked , cr ked b ll !
s two T wo liddle naked babie , my
o ai o fill-0 br wn gs n w .
h e - o O nimber, nimb r Will !
k -o My crooked , croo ed bill !
’ Don t hurt de liddle babies ; dey
- is too sweet to kill o . 1 56
NEGRO FOLK RHYME S
IN A MULBERRY TREE
’ ES oo oo o w at see ! J l ky , l ky y nder ; I
T wo d s lid le Nigger in a Mulberry tree.
’ ’ ’ ’ ne d de o w O cain t rea , an t ther cain t rite .
’ mo But dey bofe can s ke deir daddy s pipe.
” One ma two ! One ma two ! " Dat Mulberry Witch , he titterer too .
“ ’ ’ Bi 0 g bait Mulberries make em bofe sick .
’ ” Dem liddle Niggers gwineter roll an kick !
ANIMAL ATTIRE
’ D T oo s A C n , he w ar a under hirt ;
’ ’ ow Dat Possum w ar a g n .
’ ’ o o Br er Rabbit, he w ar a verc at ’ w Wid buttons up an do n .
’ ’ ’ Mistah Gobbler s got beads roun
’ ’ is nec .
’ P tr d o Hu n Mistah at i ge s got a c llar , !
o d n d ! Mistah Peac ck, a fe der o his hea
’ But dese don t stop no gun .
" T itter er me a n s l a ugh . 1 58 NEG RO FOLK RHYMES
AS PIRATION
IF I wus de President
Of s de e United States ,
’ ’ oo s I d eat g d la ses candy,
’ s on An wing all de gates .
ANI MAL FAIR
’ HAS you ever hearn tell bout de Animal Fair ?
’ Dem birds an beasts wus all
down dere.
’ ’ Dat j aybird a - settin down on is wing !
Has you ever hearn tell about sitch a thing
’ As whut us at dat Anima l Fair ?
s . Well , dem animal had a Fair
’ Dem birds an beas ts wu s dere .
De big B aboon ,
’ 0 oo By de light de m n ,
Jes comb up his sandy hair. 1 59 NEGRO FOLK RHYME S
o i De m nkey , he g t drunk , h He kick up a red ot chunk .
’ o s Dem c als, dey ro e ;
’ ’ ’ An bu nt is toes !
’ l mb El h a He c u de ep n s trunk .
w ow to I ent d n de Fair .
wus Dem varmints all dere . Dat young Baboon Wnuk at Miss Coon ;
’ de Ele han Dat curled p s hair.
’ w o De Camel den alk b ut,
’ ’ An tromped on de Elephan s
o sn ut . ’ Ele h an ee De p sn ze ,
’ An fall on his knees ; e Dat pleased all dem monk ys .
LITTLE BOY WHO COULDN ’T COUNT SEVEN
’ ONCE der wu s a liddle boy dat couldn count one.
’ Dey pitched him in a fedder bed ; e th ought it
great big fun . 1 60
NE GRO FOLK RHYME S
MI SS TE RRAPIN AND MIS S TOAD
’ A w dow o S I ent marchin n de r ad ,
’ s ea r i I met Mis T p n an I met Miss Toad . ’ ’ w An ev ry time Miss Toad ould j ump ,
’ ea in wo o d t Miss T rp uld peep fr m hind e s ump .
x d s to I a e dem ladie fer marry me ,
’ ’ o find wi d o ou see. An b fe fault de t ther , y
“ ” ou s ss o a i If y marrie Mi T ad , Miss T e rp n
said ,
’ ’ You’ll have to hop round lak you se been half dead ! ”
’ u o s O wid T ear in o If yo c mb y head a p c mb ,
’ ’ o You ll have to creep round all tied up at h me .
’ d a r oo ot s I run d away frum , my f t g brui e ,
’ For I didn t know zackly which to choose .
FROM SLAVERY
’ u t n s C H ILE : I come from o lavery,
Whar de Bull-whup bust de hide ;
ar w dis iner ation Back d , har g
’ Natchu lly widdered up an died ! 1 62 NE GRO FOLK RHYME S
T HE END OF T EN LITTLE NEGROES
’ ’ T E N i ers - e in liddle N gg , a at , fat an fine ;
’ ’ ’ One o hi f sse to . ch ke death , an d at lef nine
i ers Nine liddle N gg , dey sot up too late ;
’ ’ ’ One s e hi s s e f o . l ep t death , an dat lef eight
E ight liddle Niggers want to go to Heaben ; ’ ’ ’ One hisse f to sing death , an dat lef seben .
’ S i er a - s eben liddle N gg s, pickin up stick ;
’ ’ ’ n wuk hisse f to six O e death , an dat lef . Six liddle Niggers went ou t fer to drive ;
’ ’
w one . Mule run a ay wid , an dat lef five Five liddle Niggers in a cold rain pour ;
’ ’ ’
hisse f to o . One coughed death , an dat lef f ur
’ Fo ur liddle Niggers , climb a apple tree ;
’ ’ ’
One o ou t d at . fall d wn an , an lef three
’ Three liddle Niggers a-wa n tin su mpin new ; ’ ’ w One t o . , he quit de udders, an dat lef T wo liddle Niggers went ou t fer to run ;
’ ’
f one. On e fell down de blu f , an dat lef
’ One a - oo wid u n liddle Nigger , f lin a g ;
“ ” ’ ’ Gun go off bang ! an dat lef none .
163 NEGRO FOLK RHYMES
T HE ALABAMA WAY
’ ’ WAY dow on er de Alerbame wa n y in r y,
’ ’ De Niggers goes to wo k at de peep o de
day .
’ ’ d s too s o De be h rt , an de high posts rear ;
De Niggers needs a ladder fer to climb up
d r e e .
’ ’ ’ o d s wo o u t bed- i k De c r re , an de t c s gone .
’ Niggers legs hang down fer de chickens
’ t roost on .
MOTHER SAYS I AM SIX YEARS
’ M Y mammy says d at Ise too young
’ T o go to Church an pray ; ’ But she don t know how bad I is ’ ’ w W en she s been gone a ay .
’ My mammy says Ise six years old , I’ My daddy says se seben .
’ ld is Dat s all right how o I ,
’ Jes since Ise a gwine to Heaben .
1 64.
NEGRO FOLK RHYME S
A STRANGE BROOD
l n k ai DE o e hen so t o tuc y gs,
’ ’ lin An she hatch ou t gos s three. wi T wo wus tuckies d slender legs,
’ wu e An one s a bumbleb e.
All dem hens say to on e nu dder “ ” Mighty queer chickens ! See ?
T HE TOWN AND T HE COUNTRY BIRD
’ JAY BIRD a -swingin a two hoss plow ; ” S r wh ot ou ? par er, y n y
’ ’ W y My legs so liddle an slen
der , man ,
’ ’ ’ I se fear d dey d break in two.
’ Jaybird answer : What d you say I someti mes worms terbaccy ; ’ w But I d druther plo sweet taters too, ” Dan to be a ole Town Tacky !
S Jaybird up in de ugar tree , ’ De sparrer on d e gr oun ;
k de s w De j aybird sha e ugar do n ,
’ ’ ’ s o An de sparrer pa s it r un .
1 66 NE GRO FOLK RHYME S
“ De j aybird say : Save some fer me ; ’ ” I needs it w en I bakes .
“ ’ s : Use ss S u h ! De parrer say la es , ” Dat suits fer Country-Jakes !
FROG IN A M ILL (’ie GUINEA OREBO RHYME )
ONCE o dere wus er fr g dat lived in er mill .
’ He had er raker don 1a bottom 0 la kimebo
Kimebo o illd , nayr , d o, kiro
timstam formididdle - a - o S , , all b ard la rake ;
’ e d on o o 0 kimebo Wid er rak r la b tt m la .
STRONG HANDS
’ ’ ’ ’ ’ H ERE S s yé bread , an here yé butter ;
’ ’ ds to ou s An here s de han fer make y putter .
’ w u w T etCh d s s en o s to . e e hand , y ant tetch a beaver
’ ’
s s ou o sho . If de e hand tetch y , y u ll ketch de fever
s S o oo row Dese hand ams n , g d fer a ,
’ ’ “ u it s oo - b cow . o W en dey hits y , g d y
" i ea d th e S u d i n Ne ro o For expl a n at on, r t y g F lk
Rhymes . 1 67 NE GRO FOLK RHYME S
FROGS (GUINEA OREBO RHYME )
S H OOL ! Sho ol ! Shool ! I rule ! Shool S hool Shool ! I rule
Shoo l Shacker- rack !
oo I sh ool bubba c l .
Seller ! Beller eel !
’ Fus t to ma tr ee l
Just came er bubba .
Buska ! Bu skar reel !
WH EN I WAS A LITTLE
’ W EN I wus a liddle boy
’ I cleaned up mammy s d ishes ;
Now is bi bo I a great g y,
’ I wears my daddy s britches .
I t an knock d at M obile Buck
’ An smoke d at co rncob pipe .
I can kiss dem pretty gals ,
’ ’ An set up ev ry night .
1 68
NEGRO FOLK RHYME S
MY S PE CKLE D HEN
SOM EBODY stole my speckled hen . ’ O ’ Dey lef me mighty p O . ’ i Ev ry day she layed three a gs,
’ ’ An Sunday she lay fé .
Somebody sto le my speckled hen . d6’ She crowed at my back .
s s Fedder , dey hine j es lak de sun ; mo’ De Niggers grudged h er .
’ ’ ’ ’ i n De whis l n gal, an de crowi hen ,
’ o n Never comes t o good en .
’ ’ ’ Stop d at whis lin ; go on an sing ! ! ’ ’ ’ er n Member dat hen wid shi in wing .
T HE SNAIL’S REPLY
’ ’ ’ S o u t n o s S NAIL! nail ! C me o yé hell ,
’ ’ Or I ll beat on yé back till you rings lak a bell .
“ ’ do s sh l I ve y well , ayed de snail in de e l,
“ ’ I ll jes take my chances in here whar I dwell .
‘ An old su e i i on p rst t . 1 70 NEGRO FOLK RHYMES
A STRANGE FAMILY
’ ’ ONCE dere s an ole oman dat lived
’ in de Wes . ’ She two a s o f b had g l de very es . ’ One wu s o lder dan de t other ,
’ ’ o o o T ther s lder dan her m ther, ’ ’ ’ e r An d y e all deir own gran mother. Can you guess ?
- GOOD BY , RING
H AD o I a liddle d g, his name wus Ring,
s I tied him up to his nose wid a tring.
’ ’ I pulled dat string, an his eyes tu n blue. ’ - ! o ou . Good by, Ring I se d ne wid y
DEEDLE DUM PLING
’ eedle ! bo DEEBLE, d , dumplin My y, Pete !
H e went to bed wid his dirty feet . M ammy laid a switch down on dat sheet !
’ D l deedle ! bo e ! eed e, , dumplin My y, Pet 1 7 1 NE GRO FOLK RHYM ES
BUCK AND BERRY
" U CK a B an Berry run a r ce ,
’ ow k h Buck fall d n an s in is face .
’ Buck an Berry in a stall ;
tr to Buck , he y eat it all .
’ k e t too ou se Buc , he much , y e.
So wid ch l r he died o e ee.
PRETTY LITTLE GIRL
’ ’ ? WH O S been here since Ise been gone
al wid A pretty liddle g a blue dress on .
’ ’ ? Who ll stay here when I goes wav
a l A pretty liddle g , all dressed in gray .
’ ’ ? Who ll wait on M istess day an night
d d ss A pretty li dle gal , all re ed in white .
’ ’ Who ll be here when Ise been dead ?
dd al l d ss A pretty li le gal , re ed in red .
1 7 2
NE GRO FOLK RHYME S
DOODLE-BUG
- - DQODLE B U G ! Doodle bug ! Come git sweet milk.
- - i Doodle bug ! Doo dle bu g ! Come g t butter. ’ - Doodle bug ! Doo dle bug ! Come git co n bread .
oo - ! oo - o o S D dle bug D dle bug ! C me n to upper.
RAW HEAD AND BLOODY BONES
’ DON T talk ! G o to sleep ! ’ ’ Eyes shet an don t you peep !
Keep still , or he j es moans : “ ’ ” Raw Head an Bloody Bones !
MYSTERIOUS FACE WAS HING
I WAS H my face in de watah
’ Dat s neider rain nor ru n . I wipes my face on de towel
’ Dat s neider wove nor spun .
I s c wa h my fa e in de dew,
’ An I dries it in de sun .
" Repea ted to r estl ess chi ld ren a t n ight to ma ke o t li e sti ll a nd g o sl eep. NE GRO FOLK RHYM E S
G O T O BED
’ DE Woo s d in de kitchen .
’ oss s s De h in de hed .
You liddle Niggers
H ad o t better g o bed .
B UCK-EYED RABBIT ! WHOOPEE !
’ ’ ’ DAT S h e s cu nn in quir l , a thing ;
H e o s t te a bu hy tail .
’ ’ H e es lu off S bo s co n j g Uncle am ,
’ a n An he rt it o a rail .
’ ’ ’ D-at S h cu n i quir l , e s a n n thing ;
’ ’ so is ole ed An J ge B ar .
’ ’ ’ ’ Br er Rabbit s gone an los his tail
’ ’ ’ of Cep a liddle bunch ha r .
Buckeyed Rabbit ! Whoopee ! Buckeyed Rabbit ! Ho ! Buckeyed Rabbit ! Whoopee !
’ ’ o Squ ir l s got a long way to g .
“ T h e expl a nati on of thi s rhyme i s found i n th e S tudy i n Negro Fo lk Rhymes . 1 75 NEGRO FOLK RHYME S
CAPTAIN COON
’ CAP TAIN COON S a mighty man ,
He trabble atter dark ;
’ ’ ’ o o stu rb Wid n thin tall t his mind ,
But to hear my ole dog bark .
’ ’ oss h e s Dat P um, a mighty man ,
r bbl He t a e late at night.
k to He never thin climb a tree ,
’ ’ ’ d ole Rber l Till he s feare o l bite .
GUINEA GALL
’ ’ WAY o om l d wn y er in Guinea Gal ,
’ i e s De N gg rs eat de fat an all .
’ ’ ’ r l Way down yon e in de cotto n fie ,
’ ’ n Ev ry week o e peck 0 meal .
’ ’ ’ Way down yon er ole Mosser swar
’ ’ ’ ou Ho ller at y , an pitch , an r ar ;
’ Wid 0 s cat nine tail ,
’ i s Wid pen 0 nine na l , w Tee hing, tee bing,
’ ’ An ev ry th ing ! 1 76
NE GRO FOLK RHYME S
A STRANGE OLD WOMAN
’ R w s ole o DE E u an man , her name wus Nan .
’ ’ She o lived an man , an died a man .
’ ’ De ole oman lived to be dried up an cunni n
’ ’ n oo s l w o O e leg st d til , hile de t ther kep runnin .
’ IN 76
WAY o o seben - d wn y nder in ty six, Whar I git my j awbone fix ;
’ All dem coon- loons eatin wid a spoon !
’ I ll be ready fer dat Great Day soon .
REDHEAD WOODPECKER
“ ” REDH EAD woodpecker : Chip ! Chip ! Chee !
’ Promise dat he ll marry me .
’ Whar shall de weddin supper be ?
lot o ol e . Down in de , in a r tten h l r tree What will de weddin ’ supper be ?
’ o A liddle green w rm an a bumblebee,
’ Way down yonder on de holler tree .
“ woo ! ! ! De Redhead dpecker, Chip Chip Chee 1 78 NE GRO FOLK RH YME S
OLD AUNT KATE
JE S look at Ole Aunt Kate at de gyardin gate ! ’ ’ S s oo ole he a g d oman .
’ ’ sh e er she W en sift meal , give me de husk ; ’ ’ she oo er h W en c k bread , s e give me de crust .
She put de hosses in de stable ;
’ one ou t s But j ump , an kin his nable .
Jes look at Ole Aunt Kate at de gyardin gate ! ’ S s till she always late .
Hurrah fer Ole Aunt Kate by de gyardin gate ! ’ ’ S s o he a fine le oman .
ow S ow ! Git d n dat ifter , take d n dat tray
’ ’ G o o H o n o w l ng, ney, dere hain t udder ay !
’ She on ho sh e o put dat e cake , went r und de
house .
’ ’ ’ She oo dat o she c k P ssum , an call im a mouse !
' Hurrah fer Ole Aunt Kate by de gya rdin gate ! ’ i She s a f ne playmate .
CH ILDRE N ’ S SEATING RHYME
’ cow- Y OU set outside , an ketch de hide .
’ ’ ’ an ol I ll set in de middle, play de g fiddle .
’ ’
o out. You set round about, an git scr uged I79 NEGRO FOLK RHYM ES
MY BABY
’ IS E de daddy of dis liddle black baby .
’ ’ H his s o s w s e s mammy nlie t s eete t liddle Coon .
G ot oo on o de l k de f rehead lak his daddy,
Pretty eyes jes as big as de moon .
’ Is of e de daddy dis liddle black baby .
“ ” ’ Yes S , his mammy keep de ugar 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 ! T wo fer dc show ! t Three o git ready ,
’ An four fer to go !
NESTING
’ ’ l on s DE j aybird bui d a wingin lim , De sparrow in de gya rdin ;
’ ole oo c 0 Dat gray g se in d panel de fence ,
’ ’ ’ d d o n o s An c gan er de t ther ide 0 Jordan . 1 80
NE GRO FOLK RHYME S
T OO MUCH WATERMELON
’ D ERE wus a great big watermillion growin on de
vine . w ’ Dere wus a liddle ugly Nigger archin all de time .
’ ’ ’ ’ An w en dat great big watermillion lay ripenin in
sun de ,
’ ’ An de stripes along its purty skin wus comin one
one by ,
’ off o w ugly Nigger pulled it an t ted it a ay,
’ ’ An he e t dat great big watermillion all in one
single day.
’ ’ too He e t de rinds , an red meat , he finish it all trim ; ’ — wa termillion s den , dat great big up an fini h
him .
BUTTERFLY
aller as o PRETT Y liddle butterfly, y de g ld , ’ ou sho is o . My sweet liddle butterfly , y mighty b ld
su n ou Y ou can dance ou t in de , y can fly up high ,
’ to it ou e But you know Ise bound g y , yet , my liddl
butterfly . 82 NE GRO FOLK RHYM ES
T HE HATED BLACKB IRD AND CROW
DAT Blackbird say unto de Crow “ ’ Dat s why de white folks hates us so ;
For s ole wus ever ince Adam born , ’ It s ou r to been rule gedder green co rn .
Dat Blackbird say unto de Crow
“ ’ ’ o s not If y u black, den I don t know .
o s s ou White f lk call y black, but I say not ; ’ ” Caze de kittle musn talk about de pot .
IN A RUS H
’ ’ ’ H ERE o es a- rea r in a - I c mes j an pitchin ,
’ ’ no ss s l k I hain t had ki ince I lef de o e itchin .
’ ’ s s Candy, dat weet ; dat s very , very clear ; ’ w ss o o s . But a ki fr m yé lips w uld be eeter , my dear
TAKING A WALK
’ ’ - s s . WE S a wal kin in de green grass du t , dust , du t
’ ’ - We s a walkin in de green grass dust .
’ s ou to If you s j es as sweet as I think y be ,
’ ’ I ll take you by yé liddle hand to walk wid me . 1 83 NE GRO FOLK RHYME S
PAYING DEBTS WITH KICKS
’ ’ WES o d I O y da dy a peck o peas .
’ Ise gwineter pay it wid my knese
’ ’ I owes yé mammy a pound o meat ; ’ ’ Is winter w An e g e pay d at id my feet .
’ ’ ’ ow w N , if I o es em somethin mo
’ You o k c me right bac an let me know .
’ Please say to dem (fore I fergets )
I never fails to pay my debts .
GETTING T EN NEGRO BOYS TOGETHER
’ N b w s w O E liddle Nigger oy hi tle an ste , H ’ e whistle up a nu dder Nigger an dat make two.
T w o s o liddle Nigger b ys huck de apple tree ,
’
ow an u dder e . D n fall Nigger , an dat make thre
’ dd o s a -wantin one o Three li le Nigger b y , m re ,
’ - Never h as n o trouble a gittin up four .
’
o o s e . F ur liddle Nigger b y , d y cain t drive k b ’ k o . Dey hire a Nigger hac y, an dat ma e five
’ d s cal cullate Five li dle Nigger , bein d men ,
’ ’ anu der Call d Nigger piece an dat make ten . 1 84
NE GRO FOLK RHYM E S
A LITTLE PICKANINNY
’ M E an its mammy is both gwine to town ’ T o git dis Pickaninny a liddle hat an gown .
’ ’ Don t you never let him waller on de flO! ’ H e s n a liddle Pickani ny,
o ole B rn in Virginy.
’ Mammy ! Don t de baby grow ?
’ ’ ’ ’ ’ Setch a catin o de honey an a drinkin 0 de wine !
’ We s gwine down togedder fer to have a good time ;
’ ’ ’ ’ ’ ’ in t r d o An we s gw e e eat, an rink m an m6
h w n O , s eet liddle Picka inny,
r l Bo n in o e Virginy. Mammy ! How de baby grow !
T DON ’T SING BEFORE BREAKFAST
’ ’ ON T s out o D ing f re Breakfast ,
’ ’ o s o ou D n t ing f re y eat,
’ ’ o out Or y u ll cry fore midnight,
’ ’ o o u s Y u ll cry f re yo leep .
”' P icka nni ny a ppea r s to h a ve b een a n Afri ca n wor d used th e ea mer i ca n s a es f or th o by rly A l v e w rd b a by. A su r s i i on T pe t t . 1 86 NE GRO FOLK RHYM ES
MY FOLKS AND YOUR FOLKS
’ ’ IF you an yé folks
’ o Likes me an my f lks,
’ Lak me an my folks,
’ ’ Likes you an yO folks ; ’ o s s o s Y u never eed f lk ,
’ S o as ince f lks been folks ,
’ ’ ou Like y an yé folks,
’ Lak me an my folks .
LITTLE SLEE PING NEGROES
’ ON E liddle Nigger a -lyin in de bed
’ His eyes shet an still , lak he been dead .
’ T wo liddle Niggers a-lyin in de bed ;
’ ’ ’ A-snorin a - of s an dreamin a table pread .
’ Three liddle Niggers a -lyin in de bed ;
’ o s o Deir heels cracked pen lak h rten bread .
’ Four liddle Niggers a - lyin in de bed ;
’ De ho o u t if w s to ! y d better p , dey ant git fed 1 87 NE GRO FOLK RHYME S
MAMMA’S DARLING
WrD o s on o fl wer my sh ulders,
’ An wid slippers on my feet ;
’ ’ ’ Ise my mammy s d a rlin
’ ’ Don t you think I se sweet ?
o I wish I had a f urpence ,
Den I mought u se a dime . S I wish I had a weetheart,
T o kiss me all de time .
I h as apples on de table,
’ An I has peaches on de shelf ; But I wish I had a husband
’ ’ Ise so tired stayi n to myself .
STEALING A RIDE
W d r o s as T O lid le Nigge b y black as tar ,
’ r in to o to Heaben on o ch ar T y g a railr ad y . Off fall Nigger boys on a cross - tie !
’ ’ r t - - Dey s gwinete git o Heaben shore bye an bye .
1 88
NE G RQ FOLK RHYM ES
ONE NE GRO T HE ME S UNG WIT H “ FROG WENT A- COURT ING ”
’ went a cou - tin he ri De frog r did de, Uh
huh ! Uh - huh De frog went a court in’
he did ride Wid a sword an a pis to!
’ by is side Uh huh ! Uh huh !
FROG WENT A- COURTING
DE r o a - f g went he did ride. Uh huh ! Uh huh !
De frog went a he did ride
’ ’ s o s o s - Wid a w rd an a pi t l by is ide . Uh huh l Uh-huh !
’ ’ H e r id to ss o s 0 - - up Mi M u ie s d . Uh huh ! Uh huh ! ’ H e rid up to Miss Mousie s
’ ’ 6 - - Whar he d of en been bef . Uh huh ! Uh huh ! 1 9 0 NE GRO FOLK RHYMES
” S s : ss o s u ? - ! ay he Mi M u ie , is yo in Uh huh Uh -huh ! “ ” S s : o ay he Miss M usie , is you in ? Oh S ’ yes, ugar Lump ! I kyard an spin . Uh huh ! Uh -huh !
He - - ! tuck dat M ousie on his knee . Uh huh ! Uh huh
He tuck dat M ousie on his knee , ’ “ ” : - ! An he say Dear Honey, mar ry me ! Uh huh Uh-huh !
” ’ - h S uh sa I o . ! O ! she y, cain t d dat Uh huh Uh-huh ! ” ’ sa do Oh S uh ! she y, I cain t dat ,
’ - - Widou t de sayso o uncle Rat . Uh huh ! Uh huh !
le o o - ! Dat o gray Rat, he soon c me h me . Uh huh Uh -huh !
l o o o Dat o e gray Rat , he so n c me h me, ’ ’ ? ” Sayin : Whose been here since I se been gone
Uh - huh ! Uh -huh !
- A fine young gemmu n fer to see . Uh huh !
Uh - huh !
u to see A fine young gemm n fer ,
’ - An one dat axed fer to marry me . Uh huh ! Uh -huh ! 1 9 1 NE GRO FOLK RHYME S
i - ! Dat Rat jes laugh to split h s side . Uh huh
Uh - huh !
Dat Rat j es laugh to split his side.
“ ’ ’ ’ J es think 0 Mo usie s bein a bride ! Uh - huh ! Uh -huh !
’ w w - x o to ow . ! Ne day , dat rat ent d n t n Uh huh Uh-huh !
’ r a w w Nex day dat t ent do n to town ,
’ ’ w - T o git up de M ousie s Weddin go n . Uh huh !
Uh -huh !
’ ’ ’ ? What s de bes thing fer d e Weddin gown Uh-huh ! Uh-huh ! ’ ’ ’ ? What s de bes thing fer de Weddin gown
’ ” ow ! - ! Dat acorn hull , all gray an br n Uh huh Uh -huh !
’ ’ ? ” Whar shall de Weddin Infar be Uh -huh !
Uh -huh ! ’ ’ ? Whar shall de Weddin Infa r be
w d sw o - Do n in e amp in a h ller tree . Uh huh ! Uh -huh ! 1 9 2
NEGRO FOLK RHYME S
’ ’ - De nex come in wu s Cap n Flea . Uh huh ! Uh huh !
’ ’ x wu De ne come in s Cap n Flea , ’ - An he dance a jig fer de Bumblebee . Uh huh !
Uh - huh !
’ ’ now o l i r - An c me in o e G ne l Lo use . Uh huh ! Uh-huh ! w ’ no come in ole G iner l Lo use .
’ H k w - e dance a brea do n round de house . Uh huh ! Uh-huh '
’ wu — De nex to come s Maj or Tick. Uh huh ! Uh huh !
’ x wu De ne to come s Maj or Tick,
’ ’ ’ e t so im s - An he much it make ick. Uh huh ! Uh- huh !
D a — - Dey sent fer Mistah oct h Fly . Uh huh ! Uh huh !
D c ah Dey sent fer Mistah o t Fly .
’ ’ S : o o s o o - ays he Maj r Tick, y u b un t die . Uh huh ! Uh -huh !
’ l C - - Oh cr e o e s at . ! , den p in Mi tah Uh huh ! Uh huh
’ h en cr le s O d ep in o Mi tah Cat ,
“ ” chillu ns de o Sca t l l An , y all h llered, Uh Uh-huh 1 94 NE GRO FOLK RHYME S
o - - It give dat fr g a turble fright . Uh huh ! Uh huh !
o It give dat fr g a turble fright , ’ ’ “ ” to - - An he up an say dem , Good night ! Uh huh ! Uh -huh !
' ’ o sw - Dat fr g, he um de lake aroun . Uh huh ! Uh - huh !
’ o sw d e Dat fr g, he um lake aroun ,
’ ’ bi d o ob i An a g black uck c me g ble m down . Uh
huh ! Uh - huh !
’ ’ ’ ? ” What d yon say u s Miss Mousie s lot Uh-huh ! Uh - huh !
’ ’ ’ ” What d yon say u s Miss Mousie s lot ? ’ ” W y sh e got swallered on de spot ! Uh-huh !
Uh - huh !
’ ’ ’ ow o now no mO an - N , I d n t k dat . Uh huh !
Uh - huh !
’
N w o o no m6 an . o , I d n t kn w dat
’ o u - If you gits m yo can take my hat . Uh huh ! Uh-huh !
’ ’ - An if you thinks dat hat won t do . Uh huh !
Uh - huh !
’ ’ o do An if you thinks dat hat w n t ,
’
o too. Den you mought take my head l ng, Uh Uh 1 95 NEGRO FOLK RH YMES
S HOO! S HOO!
S H OO! Shoo !
’ Wh at ll I do ? ’ ? Run three mile an buckle my shoe
’ wineter I se g go,
’ ’ An i on fl k ll dat chicken my 0 .
Oh ! My ! Chicken pie !
’ Sen Doctah o fer de , I m ught die.
Chri u r strn s he e ,
Once a year .
’ ’ Pass dat cider an simmon beer.
FLAP JACKS
’ L o es I OVES my wife , an I l v my baby
’ ’ - - An I loves dem flap j acks a floatin in gravy.
’ Y ou ch ar ds k wo s e : play dem y , an ma e t pas s ’ ’ - - While I eats dem fla p j acks a floatin in lass cs. 1 96
NE GRO FOLK RHYME S
ot S H Mammy g de ifter , oney ;
’ ’ An she tuck an make up dough ,
’ Which she tu n into hot biscuits.
i u w Den we all g t smart, yo kno .
’ ’ Zerves an biscuits on de table !
Ho ow ney, n ays could I wait .
’ Ole o wus o ol Aunt D nie a g od e oman ,
’ a to An I jes h d pas s my plate .
oo swallered o s I s n d wn dem bi cuit , ’ ’ E s S o t em fa ter dan a h at .
’ o o Dey wus a liddle t ugh an kn tty , ’ But I chawed em lak a goat .
s s Ma Pass de bi cuit , please , m!
s w so Plea e , Mam , fer I ants me
’ Lawd ! You d o ughter seed my mammy
’ “ ”
r in es o so. F own up , j s rter
’ o o s s W n t y u pass de bi cuit , plea e, Mam
I said wid a liddle fear .
’ ’
wus no one m6 i . Dere t but lef , S r
' u n c r Mammy riz up o t her hea . 1 9 8 NEGRO FOLK RHYM E S
’ ’ o ou r o s S uh W en Aunt D nie lef h u e, , ’ o s Mammy c me lak bee an ants,
’ ow w x k s Suh Put my head d n t i t her nee , , ’ ’ o o Alm s r ll me ou t n my pants.
’ She hick had a great big tough ry, ’ An it help till it convince .
o is one Frum dat day clean down t d ,
’ ’ v I se had manners e r since .
MI SS BLODG ER
’ DE rats an de mice , dey rund up stairs ,
o t sa Fer to hear M iss Bl dge y her prayers .
’ ’ ss Blod er Now her e I Stan s fo re Mi g .
’ ’ Ise wineter o . She spects to hit me , but g d dge her
T HE LITTLE NEGRO FLY
’ D ERE S a liddle Nigger fly
G ot a pretty liddle eye ;
’ ’ ’ But he don t kno w is A , B , C s.
’ oo He up an crawl de b k,
’ ’ An he eben pears to look ;
’ ’ ’ is But he don t know A, B , C s. I99 NE GRO FOLK RH YME S
DESTINIE S OF GOOD AND CH ILDREN
’ ON E two h fO six s e , , t ree , , five , , eb n ;
All de good chillu ns goes to Heaben .
chillu n o s ow All de bad s g e bel , w l 1” T o segash u ate id O e man Joe.
’ On e two six s , , three, fé , five , , eben , eight ; h l All de good c i lu ns goes in de Pearly Gate .
But all de bad chillu ns goes the Broad Road
T o segash u ate wid ole man Joe.
BLACK- EYED PEAS FORLUCK
’ w a - ONE time I ent huntin , h ’ I eared dat possum sneeze .
I hollered back to Susan Ann
’ ” Put on a pot o peas.
’ oo ole ss s d Dat g d la e can y ,
k s s s What ma e de eyeball hine ,
’ ’ Wid possum peas an taters
Is my dish all de time .
”’ S e a s h u a te mea ns a sso i a i g c te w th . “ ” Rea d fi r s s a nza of S ee S e o n to kno T t t h p h ll C r , w o l ma n e Joe.
2 00
NE GRO FOLK RHYME S
Now is bi bo I a great g y,
’ ’ m sh e o An Ma my , cain t d it ;
d dd s bi My a y git a great g stick,
’ s An pull me right down to it .
’ Dey say : No breakin dishes now ;
’ ’ No s tealin an no lies .
’ s is bi bo An ince I a great g y,
’ s ects o Dey p me t act wise .
BAT ! BAT !
’ BAT ! ! o Bat C me un er my hat ,
’ ’ ’ ou An I ll give y a slish 0 bacon . ’ ’ do o 6 l But n t bring n ne y o e bedbugs ,
’ o o w f r If y u d n t ant to git e saken .
RANDSOME T ANT SOME — RANDS OM E T antsome l Gwine to de Fair ? — ’ ? Randsome T an tsome W at you gwineter wear
“ ’ ’ ’ ” Dem shoes an stockin s I se bound to wear !
Ran dsom a ntsom a - o e T e gwine t de Fair .
“ A su per sti ti on tha t i t i s g ood l uck to catch a bat in ’ ’ one s h at i f h e d oesn u so d oin t get b edb gs by g . 202 NE GRO FOLK RHYME S
ARE Y OU CARE FUL ?
’ IS ou keer fu l ou y w en y goes down de street , ’ ’ ? T o see dat yé clo ze looks nice an neat
’ ’ o ou D es y watch yé liddle step lo ng de way, ’ ’ ? An think bout dem words dat you say
RABBIT HAS H
D ERE wu s a big ole rabbit Dat had a mighty habit
’ - ar din A settin in my gy ,
’ ’ ch An catin all my cabbit .
’ Ihit im wid a mallet ,
’ I tapped im wid a maul .
S ich a nu dder rabbit hash ,
’ ’ You s never tasted tall .
WHY T HE WOODPECKER ’S HEAD RED
BILL DILLIx say to dat woodpecker bird ” “ ’ ’ ? W at makes yé to pknot red
’ “ -hot sun S ays he : I se picked in de red ,
’ ” Till it s done burnt my head . 203 NEG RO FOLK RHYMES
BLESS INGS
T H E ch ivalry of the Old So uth rather demanded that all friends should be invited to partake o f the
to o meal , if they chanced c me calling about the
of o s d ! time the meal h ur . Thi i ea also pervaded the
’ ow l ly slave Negro s cabin . In o rder that this hos
i alit s p t y might not be abu ed , the Negroes had a
o w o d little deterrent st ry hich they t ld their chil ren . Below are the fancied Blessin gs asked by the ficti
o s s o o os ti u Negro family , in the t ry, wh se h pitality
had been abused .
BLESSING WITH COMPANY PRESENT
’ ’ now bles s bi n OH Lawd an us, ’ ’hi ’ An put ole S atan n us . ’ i m ’ Oh let yé Sper t i n us .
’ ’ r Don t let none hong y fi n us.
BLESSING WITHOUT COMPANY
ss now o OH Lawd have mu y up n us,
’ ’ An keep way some ou r neighbors from us .
’ o For w en dey all comes down up n us,
’ Dey eats més all ou r victuals from us. 204
NEGRO FOLK RHYM E S
’ Den de nex Nigger say Whar he done come from
“ ’ Dey wu ked you night an d ay as dey could ; ’ h s o r Dey never ad t pped an dey neve would .
’ De las Nigger say Whar he come from
“ De Niggers all went ou t to de Ball ; ” o De thick, de thin , de sh rt, de tall .
’ de d all s set But y plea e up ,
’ Jes lak ole Br er Rabbit
’ k d o W en he loo fer a g .
’ An keep it in mind ,
’ Whilst dey boas ts bout deir gals
’ ’ An dem t other things :
“ s S al Dat none deir gals wu lak lie Jane, ” l u s dat ga w sweeter sugar cane.
206 WIS E SAYING S ECTION
LEARN T O COUNT
’ T NAU G H S a naught, ’ Five s a figger . w All fer de hite man ,
None fer de Nigger.
’ Ten s a ten ,
’ But it s mighty funny ;
’ u o When yo cain t count g od ,
’ o Y ou hain t got no m ney .
T HE WAR IS ON
’ - o o DE boll weevil s in de c tt n ,
’ - com De cut wo rm s in de ,
’ 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! 207 NE GRO FOLK RHYM ES
HOW T O PLANT AND CULTIVATE SEEDS
PLANT : One fer de blackbird
w ow T o fer de cr , Three fer de j aybird ’ ’ w An fo fer to gro .
: ou to wu k Den When y goes ,
’ Don t never stand still ;
o u de ss When y pull gra , ’ out n Pull it de hill .
A MAN OF WORDS
’ ’ ’ A 0 wo s not 0 s A M N rd an deed ,
’ Is lak a gyarden full 0 weeds.
’ De weeds gi n to grow
’ r 0 ow Lak a gya den full sn . ’ De snow gin to fly
Lak a eagle in de sky.
’ De sky gin to roar ’ o Lak a hammer on yé d or.
’ De door gin to crack
’ ’ Lak a hick ry on yé back .
208
NE GRO FOLK RHYMES
’ ’ On on er o set y high m untain , I ll up dar high ; ’ ’ w s ss on An de ild gee e can cheer me while pa in by.
’ ’ o wa o o G y, y ung ladies , an let me al ne ;
’ ’ F r u ow oo bo w o yo kn I se a p r y, an a long ays from
home .
’ ’ G o put up de hosses an give em some hay ; ’ o o s But d n t give me n whi ky , so long as I stay. ’ For whisky nor brandy hain t fr iend to my kind ;
’ ’ O o Dey killed my p daddy, an dey tr ubled my mind.
THAT HYPOCRITE
T LL u h w I E yo o dat hypocrite do,
’ w u He come do n to my house, an talk about yo ; ’ o ou He talk about me, an he talk ab ut y ;
’ ’ An dat s de way dat hypocrite do .
I tell you how dat hypocrite pray.
He pray o u t loud in de hypocrite way .
o ot to He pray out l ud , g a heap say ;
’ ’ An dat s de way dat hypocrite pray .
’ ’ I tell you how dat hypocrite ten ,
’ ’ ’ ’ o o . H e ten dat he love , an he d n t l ve men
’ ’ ’ ’ H o e ten dat he l ve , an he hate Br er Ben ;
’ ’ ’ ’ An dat s de way dat hypocrite ten . 2 10 NE GRO FOLK RHYMES
DRINKING RAZOR SOUP
’ ’ HE S been drinkin razzer soup ;
Dat sharp Nigger, black lak ink .
’ ’ h e o o If d n t watch dat t ngue 0 his, ’ ’ ’ ’ So o im for meb dy ll hurt he think.
’ ’ He o cain t drive de pige ns t roost, ’ o al bi D ugh he t k so g an smart . ’ ’ H ot o o ain t g de sense t t le em in . ’ ’ Cain t more an drive dat ole mule
OLD MAN KNOW-ALL
’ OL o - o o E man Kn w All , he c me r und ’ his os wa Wid n e in de air, turned y frum de ground .
’ His ole woolly head hain t been combed fer a week ;
“ ” - o . It say : Keep still , while Kn w All speak
’ -Al run Ole man Know l s tongue, it ;
’ ’ He jes know d ev rything under de sun .
o When you knowed one thing, he kn wed ’ ’ ’ He os sh arp nough to stick an green
2 1 1 NE GRO FOLK RHYM ES
’ - Ole man Know All died las week .
’ He got drowned in de middle 0 de creek . ’
to s . De bridge wus dar , an dar tay
But he knowed too much to go dat way.
FED FROM T HE TREE OF KNOWLEDGE
N EB B ERs r s to o I ta t break my c lt,
’ r Till he s ole enough to t abble. I nebber digs my taters up
’ ' ’ o W en dey s only right t grabble .
’ ’ So w en you sees me risin up ’ T o stru ctify in meetin fi
’ Y ou can know Ise climbed de Knowledge Tree
’ ’ in An done some apple eat .
T HE TONGUE
? G OT a tongue dat jes run when it walk
’ It cain t talk.
G ot a tongue d a t can hush when it talk ’ w It cain t squa k .
NE GRO FOLK RHY LIES
PEAK SOFTLY
' ' “ t s t y ou da a e,
Or a fen ce rail broke
' B r er Ra bbit Q V to d e J ay
’ ' ’ ‘V en You on t a k d we wf ,
' YO bai ts comes off ;
' u i w An de 1321 j es s m a av.
“ TILL IVAT ERRUNS DEEP
D T w t A still a er , it run deep . w Dat sh aller ater pra tt le.
’ ’ a tt Jes roll ro und an r le.
DON’T TELL ALL Y OU
i i ’ ' m n all ll o n h t KEEP d s in . an g g ;
' -’ Ls on r 6 way you goes ;
’ o: t all s B e sh ore you knows b you tell .
’ y w But don t tell all ou kno s .
’ T h e 135 : three li nes of th e r hyme was a superS i tion cu rren t among a n te bellum Negros 2 1 4 NE GRO FOLK RHYMES
"‘ JACK AND DINA H WANT FREEDOM
’ OLE n s Aunt Di ah , he s j es lak me .
She so a da t wuk h rd she want to be free .
’ ’ ou o But , y kn w , Aunt Dinah s gittin sorter ole ;
’ ’ ’ ’ ar to o to An she s fe ed g Canada , caze it s so col .
wus ole k Dar Uncle Jac , he want to git free.
He wa o o s find de y N rf by de m s on de tree .
’ He o a - floa i cr ss dat Triver t n in a tub .
’ P atterollers im Dem give a mighty close rub .
’ ole a Dar is Uncle Billy , he s mighty good Nigger. H l w e tote a l de ne s to M osser a little bigger .
ou o When y tells Uncle Billy , y u wants free fer a ’ fac ; ’ fi ’ ’ De nex day de hide drap o n yé back .
‘ T h e writer wi s hes to g ive expl a na ti on a s to why th e ' ” rhyme J a ck a nd Di na h “ a nt Fr eed om a ppea rs u nd er th e S ecti on of P sycho-composi te Rhymes a s set forth i n “ m T h e Ne oes e ea i n T h e S tudy of ou r vo l u e. gr r p t g i th na m a k Di na thi s rhyme d id not a lways g ve e es J c , h, a s w er e ecor d em a t ei ea su e nd B i lly, a e h r th , but th r pl r pu t i n th e i nd ivi d u a l na me of th e Negro i n thei r su r rou ndi ngs whom th e sta nza bei ng repea ted might rep i r y me wa s th e sci en ific di id i n resent . T hus thi s l ttl e h t v g, Ne roes emse es of th e mem ers of on the pa rt of th e g th lv , b thei r r ace i nto thr ee g en er a l cl a s ses with respect to th e ma tter of Freed om. ' 1 T h e Ohio Ri ver. t Whi te gu a rd s wh o ca ught a nd kept sl a ves at th e ' ma ster s home. 2 1 5 FOREIGN S ECTION
AFRICAN RHYMES
“ ” “ s d - d The rhyme Tuba Blay , Near Wal o Tee o ” “ ” O mah me ai S ai Boddeoh S um un o o nah j , p K m , “ ” and Byanswahn- Byanswahn were kindly contrib u Z ted o H . o o by Mr . J hn eigler , M nr via , Liberia ,
d r f an . . . Wa doh o ss . Mr C T the Ba a Tribe, Liberia
They are natives and are now in America for col le ia g te study and training .
NEAR-WALDO-T EE - DO O MAH NAH MEJAI OR
NEAR- WALDO-T EE- DO IS MY SWEETH EART
- do o doc a do . 1. A YE H N me d d Ne r Wal Tee
- h - - Yehn me d oddoc o o seo o o .
- d Omah n ah n mej a i Near Waldo Tee o .
- Omah nah n mej ai Near Waldo Tee do .
2 1 6
NE GRO FOLK RH YME S
S L w mé e i u u A A a n t nge , C rnp ngel .
S w é én Cirn ala a m n t ge, pungelu .
w Cirn n l Meme taya ewe, pu ge u . l S wa mén e Cirn u n e u . ala t nge, p g
T ra nsla ti on
The dan cing owl waves his spread tail feathers . ’ wl I m the o .
The dancing owl waves his spread tail feathers . ’ wl I m the o .
’ In w ou c o tell y by my dan ing, I m the
l S The dancing ow waves his pread tail feathers . ’ w I m the o l .
SAI BODDEOH SUMP UN KOMO
NOT GOING T O MARRY SUMP UN
I. SA S m u I u p n komo.
De S umpu n nenah ? S umpu n se jello j eppo
Boddeoh Su mpun .
S a i S u m o o 2 . pu n k m . ? De S u mpu n nemah
S u m u n n ahn eh n deddO p auch j C.
Boddeoh S u mpun . 2 1 8 NE GRO FOLK RHYME S
T ra nsla ti on
I. not o t u I am g ing o marry Su mp n . What h as Sumpun done ?
’ S u mpu n doesn t live a seafar ing life B oddeoh Su mpun .
2 . not I am going to marry S umpun . What h as S umpun done ?
S um un o not o p d es supp rt me . B oddeoh S umpu n .
BYANSWAHN-BYANSWAHN
OR A BOAT SONG
- N AH N - - O O BYA S W blay Tanner tee o o.
O Byanswahn j ekah j ubba . h De jo Byanswa n se kah j uj ah dai .
- - O Byanswah n blay dai Tanner tee o o.
T ra nsla ti on
to . Oh boat, come back me
r d w S ince you car ied my chil a ay,
I have not seen that child .
Oh bo at come back to me . 2 1 9 NE GRO FOLK RHYM'ES
T HE TURKEY BUZZARD
: ss o ot Dr . C . C . Fuller a mi i nary at Chik e Mel s od s was oo o to s etter , Rh e ia , Africa , g d en ugh ecure
r w for the compile this rhyme, ritten in Chindau ,
o E . H so o from the Rev . J hn atch , al a missi nary in
S o h ut Africa .
T w r ashika . RI I, riti , m ana wa
‘ Ndizo ndizo ku r a ku , gy wande . w w ou . Riti , riti , m ana a eka
N iz n iz d o, d o ti wande issu .
T r a nsla ti on
o is o . Turkey buzzard , turkey buzzard , y ur child l st
is oo That all right , the f d will be more plentiful .
r o is Turkey buzzard , turkey buzza d , y ur child
found .
we s That is right , will increa e in number .
220
JAMAICA RHYM E
BUSCHER GARDEN
This Negro rhyme from rural Jamaica was con
Ro d e B . c tributed by Dr . C cil d o k, a native of that
wo B usch er s country . The rd mean an overseer master of a plantation .
ALL me a o Wa r um a night , d watch a br ther y ; m a ru . W y ina me. Buscher garden
’ h o Wa rum ! Wh a ou do O , Br ther y a y da ,
s s a me Bu cher , in a me Bu cher garden ; a Buscher a
2 22 VENEZ UELAN NEGRO RHYM ES
‘ ’ These Venezuelan rhymes : A Would be Im
” “ ’ a o s to migr nt and Game C nte tant s Song, came u o d f s s o . . i s thr ugh the kin ne s Mr J . C W lliam , s V S Caraca , enezuela , . A . He is a native of Vene
Zuela .
GAME CONTE STANT ’ S SONG
’ WE RE go ing to dig !
’ We re going to dig a sepulcher to bury those regi
ments . White Rose Union !
s Get yours elf in readiness to bury those regiment .
Oh G ren tville ! Cici ! Cici !
Beat them forever .
Sa yo ur de vrai !
’ We ll send them a challenge,
T o mardi carnival .
S a your de vr ai = Cici a ki nd of g ame. 223 NEGRO FOLK RHYM E S
A “ WOULD B E IMMIGRANT
H e was going to Panama .
s l ! Cele tine Revay , a Grenada
’ What d you think bring Celestine
i Wha t d you think bring Celestine cents a cup
224
NEG RO FOLK RHYME S
i E s ' Beautiful Mar e , the a t Indian
Papa is an African.
E a Mamma i s a beautiful ast Indi n .
l That tried to play a fi dd e . H e struck it here , and he struck
226 P H ILIP P INE IS LAND RHYM E
The following rhyme came to me through the
Ill. f . kindness o Mr C . W . Ransom , Grand Chain , ,
S . . so s U . . A Mr Ran m erved three years with the
United S tates Ar my in the Philippine Islands.
o e S EE that Monkey up the c coanut tr e , ’ ’ — ’ A-j u mpin an a th rowin nuts at th e ?
E o s o l hombre .n av y,
to America na same ,
hay dique.
227 A S T UDY IN NEGRO FOLK RHYM ES
T H E lore of the American Negro is rich in s o so an o s t ry , in ng, d in F lk rhymes . T he e stories an d so s ng have been partially recorded , but so far as I know there is no collection of the American Negro
o s o i F lk Rhyme . The c llection in Part I s a com
ila i f p t on o American Negro Folk Rhymes, and this study primarily concerns them ; but it was necessary to have a Fo reign Sectio n of Rhymes in order to
ur o o make o study c mplete . I have theref re inserted
o S o of V a a little F reign ecti n African , enezuelan , J maican d a n d R es , Trini ad , Philippine Negro hym ; and along with them have placed the names of the contributors to whom we ar e under great obliga
a w as to o w tions, s ell the many thers ho have given valuable assistance and suggestions i n the matter of the American Negro Rhymes reco rded . When critically measured by the laws and usages
o E s o g verning the best ngli h p etry, Negro Folk
Rhymes will probably remind readers of the story of
oo b o who r o o the g d r ther, a se s lemnly in a Christian 228
NE GRO FOLK RHYM 153
An examination o f stanzas in various Jubilee songs will show in the same song large variations in poetic
no o o feet, etc . , t nly fr m stanza to stanza ; but very o o to and o s to ften fr m line line , even fr m phra e
s o w s s o phra e . N t ith tanding all thi variati n , a well trained band of s ingers will render the songs with such perfect rhythm that one scarcely realizes that the structure of any one stanza diff ers materially
o o f o e fr m that an th r .
s s o o is A tanza , as it appear in Negr F lk Rhymes , of the same construction as that found in the Jubilee
e is . w S ongs . A perf ct rhythm there If hile read
ou ss d et o ou w ing them y mi it , rea y nce again ; y ill “ ” find it in due season if you faint not too early.
k s is w As a rule , Negro Fol ver e so ritten that it
w r fits into measures o f music ritten o time .
Y ou can therefore read Negro Folk Rh ymes silently o : o ne two or one two o an d c unting , ; , , , three , f ur ; the stanzas fit directly into the imaginary music measures if you are reading in harmony with the w intended rhythm . I kno of only three Jubilee
Songs whose stanzas are transcribed as exceptions. They ar e
“ ’ I Im o m to w s ( ) G g Live ith Je us, time,
’ ’ ” 2 s s o to ow 3 ( ) Gabriel Trumpet G ing Bl , 4 time , ” a n o d o d (3) L r Make Me M re Patient , time . 2 30 NE G RO FOLK RHYME S
It is interesting to note alo ng with these that “ ” S o o f Owl o Sol the ng the Great , the Negr
’ d s s For ier Civil War Chant , and De titute
S Ow ar e s mer lave ners , eemingly the only ones in ou r Folk Rhyme collection which would call fo r a
3 or s 4 mea ure . S uch a measure is rare in all literary Negro Folk productions.
o r i The Negr , then , repeated o sang h s Folk
s and h to s Rhyme , danced t em and mea
s s o s ex ure . Thu Negr Folk Rhyme , with very few
ce tions o w s is p , are p etry here a mu ic measure the
unit o f measurement for the words rather than the
i is or is . s w poetic foot Thi s true hether the Rhyme ,
not s . ma n me u r e ei th er o two or our , ung I gi ary as s f f
b a t w t a iven n u mber o wor d s to beat a e s, i h g f a ,
b v mi t dl t wi ll seems n u mber tha t ca n e ar i ed li e y a ,
to be the philosophy u nd er lyi ng a ll Negr o sla ve
' r hyme constr u cti on .
o As h as j ust been casually mentioned , the Negr
Folk Rhyme was used for the dance . There are
Negro Folk Rhyme Dance Songs and Negro Folk
of o is o Dance Rhymes . An example the f rmer f und
“ ” “ of in The Banj o Picking, and the latter, Juba ,
o won~ both found in this collecti n . The reader may
d er how a Rhyme simply repeated was used in the
was as o o : dance . The procedure f ll ws Usually 23x NE GRO FOLK RHYMES
” one or two individuals star danced at time . The o thers of the crowd (which was usually large) formed a circle about this on e or two who were to
a k o r t e their pr minent tu n at dancing . I use the
“ ” terms star danced and prominent turn because in the latter part of ou r study we shal l find that all those present engaged sometimes at intervals in the
d . os o f r ance But th e f rming the circle , o most of the time , repeated the Rhyme , clapping their hands
o t gether , and patting their feet in rhythmic time w ith 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 a w to wo d a n d ns ering every r , sometimes to every syllable of the Rhyme being repeated by those in the
’
w s s . oss circle . There ere many uch Rhyme P um
” “ ” S w o oo Up the Gum tump , and Ja b ne are g d ex
z s to s s w not amples. The stan a the e Rhyme ere
wo o r as is usually limited to t three , generally the
r E case with those r ecorded in ou collection . ach
s z s as selection usually had many tan a . Thus there came variation in the words from stanza to stanza ,
s was x d to its o or the skill o f the dancer ta e utm st , in d er to keep up the graceful dance an d to beat a changed tattoo upon the ground corresponding to the 232
NE GRO FOLK RHYME S
pat right along while Jubilee melodies were being
sung.
o o od o s d o All Negr F lk pr ucti n , inclu ing the Negr
o k s see F l Rhyme , m to call for this patt ing of the
oo x f t. The e planation which follows is offered for
o o o s o f c nsiderati n . The rche tras the Native Afri
can were made up largely of crudely co nstructed
s o f on r w r drum e sort or another . Thei a songs an d so fo rth were sung to the accompaniment of these
drum orchestras . When the Negroes were trans
o d an d o p rte to America , began t sing songs and to t chant words in ano ther tongue, they still sang s rains
a o for o c lling, thr ugh inheritance , the acc mpaniment
’ of their ancestral drum . The Nogro s drum having
o o n fallen fr m him as he entered civilizati n , he u wit tingly called into service his foot to take its place .
This substitution finds a parallelism in the highly
os w o sta cultivated La France r e , which being ith ut mens and pistils must be pro pagated by cuttings or
f s ss r s s o s . os os g afting in tead by eed The r e, purp ele , emits its sweet perfume to the breezes and thus it attracts insects for cross fertilization simply because i ts staminate and pistillate ancestors thus cal led the
for insect world that purpose. The rattle o f the crude d rum of the Native African was loud by in heritance in the hearts of hi s early American de 234 NE GRO FOLK RHYMES scend an ts a nd its unseen ghost walks in the midst of all their poetry .
Many Negro Folk Rhymes were used as banj o
o so and fiddle (vi lin ) ngs . It ought to be borne in
o mind , h wever , that even these were quite often
d w o s or . repeate ith ut inging playing . It was com mon in the early days o f the public schoo ls of the
S outh to hear Negro children use them as declama
o s . o o ow of o o ti n The c nnecti n , h ever , Negr F lk Rhymes with their secular music productions is well
o Of w rthy notice . I have o ften heard those who liked to think and s ss w h no di cu things musical , onder w y little or music o f a secular kind worth while seemed to be o o o s f und am ng Negr e while their religious music,
So s o the Jubilee ng , have challenged the admirati n
o s of os o s of the world . The s ng m t native pe ple
“ ” seem to strike high water mark in the secular
s of ex form . Pro bably number us have heard the
“ see o is o o planation : Y ou , the Negr deeply em ti nal ;
s religion appealed to him as did nothing el e. The
Negro therefore spent his time singing and shouting
wh o o o W s h is praises to G o d , al ne c uld hi per in ” is heart and stir up these emotions . There per
is o haps much truth in this explan ation . It als such
o a delicate and high compliment to the Negr race , 235 NE GRO FOLK RHYMES
t that I hesitate o touch it. One of the very few gratifying things that has come to Negroes is the unreserved recognition of their highly religious char
r ow o acter . There is a t uth , h ever , ab ut the rela ’ tion between the Negro Fo lk Rhyme and the Negro s banj o and fiddle music which ought to be told even
o so o w o th ugh me lder , nicer vie p ints might be a little s hifted . There were quite a few Rhymes sung where the banj o and fiddle formed what is termed in music a
Ex f s imple accompaniment . amples o these are
“ ” “ ’ o f und in Run , Nigger , Run , and I ll Wear Me a ” s s of Co tto n Dress . In such ca e the music consisted
“ ” simple short tunes unquestionably bo rn to die. “ There was another class of Rhymes like Devilish ” s o Pigs , that were u ed with the banj and fiddle in
was o ro quite another way . It the banj and fiddle p du ctions of this kind of Rhyme that made the
“ ” old time Negro banj o picker and fiddler famous .
few who to It has caused quite a , heard them , declare
or was i o to o that, saint sinner , it mp ssible keep y ur feet still while they played . The compositions were
o one to o of comp aratively long . Fr m f ur lines a Negro Folk Rhyme were sung to the opening meas ures of the instrumental composition ; then followed
of o o the larger and remaining part the c mpositi n , 2 36
NE GRO FOLK RHYMES
“ ” abo ut which the old time Negro banj o picker and fid dler clustered his best in strumental music
o s th ught . It is too bad that this music passed away
o d d s unrec r e ave by the hearts of men . Paul Lau rence Dunbar depicts its tell ing effects upon the “ ” bearer in his poem The Party
’ oe ole f m Cripple J , de rheumatic, danced dat flo ro
side to middle. ’ ’ ro his r Th wed away c utch an hopped it, what s rheumatics ’gainst a fiddle ? ’ Bld ah Thompson got so tickled dat he lak to los his
grace , ’ ’ ’ ’ H a d to take bo fe feet an hold em, so s to keep em
in deir place .
’ ’ An de Christu ns an de sinnah s 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 th e per
r o formers sing a sentence o so here and there, b th to as sist the hearers to a clearer musical understan d ing a n d to heighten th e general art istic finish . The old Negro performers generally san g lin es of the
Folk Rhymes at the opening but occasionally in the 238 NE GRO FOLK RHYME S
of s n t midst their in trumental co mpositions. I do o recall any case where lines were sung to the closing
s of o os measure the c mp itions .
It might seem o dd to some that the grotesque
Folk Rhyme should have given rise to comparatively
o r s l ng inst umental mu ic compositions. I think the
o is o explanati n pr bably very simple . The African on his native hea th had his crude ancestral drum as his s s H leading mu ical in trument . e sang or shouted his so s o w war ng c nsisting of a fe words, and of a few o s o ow n te , then f ll ed them up with the beating
f r r o his drum , perhaps for many minutes, o even fo
“ ”
o s . o o d s h ur In civilizati n , the banj , fid le , quill ,
“ ” and triangle largely took the place of his dr um .
Thus the singing of opening strains and following
them with the main body of the instrumental com
’ is i o s law position , n keeping with the Negr inherited
for instrumental compositions from his days o f
s o s of o savagery . The rattling, di tinct t ne the banj , recalling unconsciously h is inherited love for the
is o rattle o f the African ancestral drum , pr bably the
thing which caused that instrument to become a
favo rite amo ng Negro slaves .
I would next consider the relation of the Folk
e e Rhymes to Negro child life . Th y wer instilled
a lo fol into children as warnings . In the ye rs c sely 2 39 NE GRO FOLK RHYME S ow ou r wa s o o for o l ing Civil War , it c mm n a y ung
o o to o r Negr child , ab ut engage in a d ubtful ventu e , to hear h is mother call ou t to him the -Negro Rhyme
o H s o recorded by J el Chandler arri , in the Negr
“ ”
En d of . sto ry , The Mr Bear
’ s bu t o sw Tree tan high , h ney mighty eet
Watch dem bees wid Stingers on d er feet .
These lines commonly served to recall the whole
’ r s so sto y , it being the Rabbit ng in that story, and
w wa the child stopped hatever he s doing . Other and better examples o f such Rhymes are Young
” “ s and Ol s Ma ter d Ma ter, The Alabama Way, “ ” Y r and ou Had Better Mind Mas ter, found in ou
o o c llecti n . The warnings were commonly such as would help
h t s o s ss s an d t e slave o e cape m re ucce fully the la h ,
o d o o to live more comf rtably un er slave c nditi ns . I would not fo r once intimate that I entertain the thought that the ignorant slave carefully and philo so s his s o d so phically tudied urr un ings , rea ned it to be
o to w d o o a fine meth d arn chil ren thr ugh p etry ,
o os d s a n d k w s o to c mp e ver e , li e a i e man pr ceeded u f se it . O course thinking preceded the making of
o s s f the Rhyme , but a consci u ystem o making verses 2 40
NE GRO FOLK RH YME S race between the bare and the tortoise rabbit an d ’ the tortoise wins not through the hare s
o t s g ing o leep , but through a gross deception o f al l
o who c ncerned , including even the buzzard acted as Judge . The Rhyme is a laugh on Jedge Buz ” z It was o mo to ard . c m nly repeated Negro chil dren in olden days when they passed erroneous judg
“ ” ments Buckeyed rabbit ! WhOOpee ! in ou r vol ume belongs with the Negro story recor ded by Joel
an d H s How Ch ler arri under the title , Mr. Rabbit ” os His s l o f L t Fine Bu hy Tai , th ugh or some reason
H s to w o s o was Mr . arri failed eave it int the t ry as
“ ’ ” o o s o ou r col the Negr cust m . The Turtle S ng, in
o o w o w s o lecti n , is an ther , hich bel ngs ith the t ry,
“ ” r S ow Hi S Mr . Ter apin h s s trength ; a Negro story
to o s o o given the w rld by the ame auth r, th ugh the
in Rhyme was not reco rded by him . It might be of terest to o o w s s kn w that the Negr es , hen them elve
o o s s s o telling the F lk st rie , u ually ang the F lk Rhyme “ ” ot po rtions to little catchy Negro tunes . I would n
H s under any circumstances intimate that Mr . arri
He o a carelessly left them out . rec rded m ny little
o E xa s stanzas in the midst of the st ries . mple are
’ ’ (a ) We ll stay at home when yo u re awa y
’ ’ ” Cause no gold won t pay toll . 2 42 NE GRO FOLK RH YM E S
Big bird catch , little bird sing.
Bu zoo g bee m , little bee sting .
bi o s o ow Little man lead , and the g h r e f ll , ’ Can you tell what s good for a head in a
low
These an d many o thers are fragmentarily recorded
’ “ o H am ng Mr . arris Negro stories in Nights With ” Uncle Remus .
Folk Rhymes also formed in many cases the words
“ ” “ of o So s S Negr Play ng . usie Girl , and Peep ” S o ou r o quirrel , f und in c llection , are goo d illustra
o s o f s s s wa ti n the Rhyme u ed in thi y. The words
and the music of such Rhymes were usually of poor
. h o w s quality W en , h wever , they ere ung by chil dren with the proper accompanying body move
s w r ment , they might quite ell emind on e o f the “ ” Folk Dances u sed in the present best u p- to- date S f Primary chools . They were the little rays o sunshine in the dark dreary monotonous lives o f d black slave chil ren .
Possibly the thing which will impress the reader most in reading Negro Folk Rhymes is their
- s good natured drollery a n d sparkling nonsen e . I
o o believe this is very imp rtant . Many have rec unted
“ ” u r o of oo s Ne in o hearing, the descripti ns backw d 2 43 NE GRO FOLK RH YME S
r s w ss d so o f w g o picnic . I have itne e me them here — the good natured vender of lemonade and cakes cri ed out
’ ’ ’ H Ol o ere s yé c ice lem nade,
’ It d s ma e in de shade,
’ It s stirred wid a spade .
’ col Come buy my ice lemonade .
’ It s made in de shade
’ ’ An sOl in de sun .
’ E f u t n o yo hain t go money,
’ Y ou cain t git none .
n O e glass fer a nickel , ’ w An t o fer a dime ,
’ Ef ou o y hain t g t de chink,
’ Y ou cain t git mine .
dis wa Come right y,
’ Fer it shO will pay
T o git candy fer de ladies
’ ” An cakes fer de babies .
” Di i’ t d these venders sell Well , all agree that hey
i w o f d d . The same principle applied , ith much the
k of nonsense eliminated , will probably ma e the
o as s s wa o Negr a great merchant , ca te give y en ugh/ ’ n Of to allow him a common ma s business chance . r s f o o h as o all the race o men , the Negr al ne dem n 244
NE GRO FOLK RHYME S
those found to be clearly Of this kind may be men
“ ’ ” “ ” “ ti ne w S o s o d The Great O l s ng , Tail , Red
” “ ’ ” “ ood k S s Bob head W pec er , The nail Reply ,
’ ” “ ’ w S s o w So an d hite s ong, Chuck Will Wid ng,
s many o ther . The Folk Rhymes were not often repeated a s such ” or as whole compositions by the grown - u ps among
n . Negroes apart fro m the Play a d the Dance If ,
w u h a t w antebel h o ever , yo ha d d an argumen ith an
o h a o ten of u lum Negr , d g t the better the arg ment ,
a n d o d was y ou he still felt c nfi ent that he right,
pro bably would have he a rd him close his side of the
‘ d w h wo ds : Ole h Ian ow ebate it the r Well , Kn
’ s is on s o t os s o All is Dead . Thi l y a h r pr aic ver i n ” o f his Old l\-Ian K ow- o d ou r rhyme n All , f un in f f collection . Many o the characteristic sayings o
“ ” Uncle Remus woven into story by Joel Ch andler
H s h ad o s arri their rigin in the e Folk Rhymes.
“ Dem d a t know too much sleep under de ash -hop ” per (Uncle Remus ) clearly intimates to all wh o
know abo ut the Old - fashioned ash - hopper that such
s i an individual lies . Thi saying s a part o f an “ ” o s z Of Old l\ fl an ow- ther tan a Kn All , but I cannot
o dim o of s an s recall it fr m my mem ry the pa t , d other
w o sk s a h m I have a ed eem equ lly unable to do so ,
o w th ugh they have once kno n it .
As is the s w s of ca e ith all thing Folk origin , 246 NEGRO FOLK RHYME S
is there usually more than one version of each Negro o F lk Rhyme . In many cases the exercising of a
o t s o s w ch ice be ween many ver i n as difficult . I can o x s o o nly e pre s the h pe that my ch ices have been wise .
There are two American Negro Folk Rhymes in
“ ” “ ” ou r o o : o a c llecti n Fr g in Mill and Tree Frogs, “ o which are ddities in language . They are rhymes
of of o w a rare type Negr , hich h as long since disap ” pea red They were called Ebo Negroes and
“ ” s - Guinea Negroe . The so called Ebo Negro
“ ” “ ” e o f us d the w rd la very largely or the word the .
This and some other things have caused me to think “ ” that the Ebo Negro was probably one wh o was
s o S fir t a slave am ng the French , panish , or Portu
u ese w s so o - g , and was after ard ld t an English speak
i n o s a g wner. Thu his l nguage was a mixture o f
E s an d one of s . African , ngli h , the e languages The
“ ” so- called Guinea Negro was simply one wh o had not been long from Africa ; his language being a
s mixture of his African tongue and English . The e
rhymes are to the ordinary Negro rhymes what
“ ” s w s Jutta Cord la in Night ith Uncle Remu , by
H s is to o o Joel Chandler arri , the rdinary Negr
o stories found there . They are pr bably representa
of o o o k tive , in language, the m st primitive Negr F l
productions .
ol n S ome o f the rhymes are very d indeed . If o e 2 47 NEGRO FOLK RHYM E S w s I S ix n o ill but read Ma ter s Feet O e Way , f und
ou r o o w fin descr i tion of in c llecti n , he ill d in it a p a
be slave owner attired in Colonial garb. It clearly o s as to of o os o to o o l ng , date c mp iti n , either C l nial
s or day , to the very earliest years of the American
w d as s . e o s m Republic When c n i er it a lave rhy e ,
is far o d s o w s d it fr m cru e t , n t ith tan ing the early period o f its production .
on e st d s ou r o o o f s If carefully u ie c llecti n rhyme , he will probably get a new a nd interesting picture o f
’ the Negro s mental attitude and reactions during the
ne f s days o f his enslavement . O o the e mental reac
n ne wo d tions is calculated to give o e a surprise . O ul
x o d naturally e pect the Negr un er hard , trying, bitter s o t w r d o s to o o . is e lave c n iti n , l ng be hite There a markable Negro Folk rhyme which shows that this
“ ’ wa i : I s not the case . This rhyme s d Rather Be a
s Negro Than a Poor White Man . We mu t bear in mind that a Folk Rhyme from its very nature car
s s f s rie in it the cry tallized thought o the masses. Thi
o d a n o we rhyme , th ugh a little aci ic d th ugh have
o d d s o s es o d rec r ed the mil er ver i n , leave the unqu ti ne
o s o o s c nclu ion that , th ugh the Negr ma ses may have wished for the exalted station o f the rich Southern white man and possibly wo uld have willingly h ad a
ss o to os o white color as a pa p rt p iti n , there never 2 48
NEGRO FOLK RH YME S
d to s it , I have reluctantly un ertaken di charge the l ob igation .
If I were so fortunate as to possess a large flower
s garden with many new and rare genera and pecies, w and wished to acquaint my friends ith them , I should first take these friends for a walk through
d see odd s the gar en , that they might the tint and
s of n ew hue , might inhale a little the fragrance , and might get some idea as to the prospects for the
wo . utilization o f these new plants in the rld Then ,
oom o taking these friends back to my study r , I sh uld w consider in a friendly manner along ith them , the
an s . Families a n d the Species , d the varietie Finally,
I should endeavor to lay before them from whence
ow e these new an d strange fl ers came . I have n
deavored to pursue this method in my discussion of
o o the Negro Folk Rhymes . In the f reg ing I have endeavored to take the friendly reader for a walk
s new an d s of h s through thi trange garden R yme , an d I now extend an invitation to him to come into
o f o c the Study Ro m or a m re ritical view o f them .
When one enters upon the slightest contemplation
f o k ss o Negro F l Rhyme cla ification , an d is kind
hearted enough to dignify them with a claim to kin
s to o wo d B a lla hip real p etry , the r d rolls ou t with
s s f o as ou t the lighte t e f rt , a term that takes them all 2 50 NE GRO FOLK RHYM E S
. s is r in Yes , thi very true, but they a e of a strange
. s o f type indeed They are Nature Ballad , many
s s o r them , in the en e as rdina ily used . In quite an o s s ow ther en e , h ever , from that in which Nature
is o d u Ballad r inarily sed , about all Folk Rhymes are
Nature Ballads .
do not to I have reference the thought content , but have reference to what I term Nature Ballads in
o y f rm . Permit me to explain by analog j ust what
wo d o I ul c nvey by the term Nature Ballad in form .
All Nat ure is one. Though we arbitrarily divide
’ s o s for s d Nature bj ect tu y , they are indissolubly bound together and every part carries in some part of its constitution some well defined marks which characterize the o ther par ts with which it has no
o s : immediate connection . T illu trate the absolutely
s ox d s is pure apphire , pure aluminic i e , cry tallized ,
’ k ow s commonly colorless, but we n that Nature s mo t
n t o o ss beautiful sapphires are o c l rle , but are blue ,
s o o s and Of other beautiful tints . The e c l r tint are
f o s s no t due to minutest traces o ther ubstance , at all
os on of general common sapphire comp iti . We call
ow d ss Of them all sapphires , h ever , regar le their little
impurities which are present to enhance their charm
w s all a w and beauty . Like i e , anim l life begins ith
one o one one s cell , and th ugh the cell in ca e devel 25 1 NE GRO FOLK RHYME S
O s o a n o o a n p int a vertebrate , d in an ther case int invertebrate the cells persist and so all animal life h as cellular structure in co mmo n . Yet , each animal branch h as predominant traits that distinguish it
o o s s is of fr m all ther branches . Thi ame thing true
s plant .
’ s o of s s Nature meth d , then , making things eem to be to put in a large enough amount of one thing to d to mix bran the article , and then in , in small
o s o o f o s to r am unt , en ugh ther thing lend cha m and beauty withou t taking the article out of its general class . This is that which goes to make Negro Folk
d o . s Rhymes Nature Balla s in f rm They are ballad ,
f So but all in the midst o even a Dance ng , by Na
wo n ture an ordinary ballad , there may be inter ve
o d o f c medy, trage y, and nearly every kind imagina ble thing which goes rather with other general forms w d of poetry than ith the balla . As an example, in “ f ” w the Dance Song, Promises o Freedom , e have mustered befo re ou r eyes the comic drawing of a de ceptive ugly Old Mistress and then follows the inti
a d of o so s wn mation Of the tr gic eath a p i ned lave o er , a n d as we are tempted to dance along in thought
we o s with the rhymer , cann t e cape getting the subtle “ ” impression that this slave h ad at least some vague 2 5 2
NE GRO FOLK RHYME S
o s o s o the Negr e many years ago o ften t ld a t ry , in o o w so o f s o s c nj uncti n ith ng, the great mi f rtune which overtook a Negro who tried to get his living b y hunting Jay birds . Finally it also belongs under
S s s fo its s s the heading uper tition , r la t tanza very plainly alludes to the Old Negro superstition o f sl avery day s which declared that it was almost im possible to fin d Jaybirds on Friday because they went to Hades on that d ay to carry sand to the Devil . But so impo rtant do I think of comparative study th a t I have taken the ordinary headings used for
a nd dd t o s Ballads , after a ing tha mnibu heading
“ do s o Miscellaneous, have ne my be t . The maj rity o f the Rhymes can be placed under headings ordi
s was to x d . n a r ily used . Thi be e pecte It is in
w see s obedience to N a tural La . We it in the Mu ic
a s a s h as Wo rld . The Cauc i n mu ic eight funda
s s s has mental tone , the Japane e mu ic five , while,
o to so a o s o -mu acc rding me uth ritie , Negr Jubilee sic h a s nine ; yet all these music scales have five
od S s of Ele tones in common . In the Peri ic y tem ments there a re two periods ; a short period and a on o d o o s o o l g peri , but b th peri d embrace , in c mm n ,
o w elements belonging to the same family . S ith the
a a s ss a o a d w w B ll d , certain cla ific ti n he ings ill very ell
k o o o s o ta e in b th the Negr and all ther . The Negr 2 54 NEGRO FOLK RHYMES
ow o not o . Ballad , h ever, d es entirely pr perly fit in I have therefore resorted to the following expedient
k s o d I have ta en the heading r inarily used , and have listed under each heading the Negro Rhymes which
o w s o bel ng ith it , as nearly a p ssible . I have placed
s c ss s en d o f oo d thi la ified li t at the the b k , un er the “ ” o d title C mparative S tudy In ex . By using this In dex one can locate and compare Negro Fo lk produc tions with the corr espond ing Folk productions of
o s other pe ple . The headings found in this Comparative Study Index are a s follows :
I. Love Songs .
2 . Dance Songs .
o . 3. Animal and Nature L re
s s. 4. Nur ery Rhyme
S s o . 5 . Charms and uper titi ns
So . 6. Hunting ngs
So s . 7 . Drinking ng
o S . 8. Wise and Gn mic ayings
H S o s . 9 . arvest ng
o s . 10 . Biblical and Religi u Themes
So . II. Play ngs
s o . 1 2 . M i cellane us With the way paved for others to make such com
o now e parative study as they w uld like , I feel fre 2 5 5 NE GRO FOLK RHYM E S to u se a classification which lends itself more easily
to a discussion of the origin and evolution of Negro
s s s classifica Rhyme . The ba ic principle u ed in thi
ti on is Origin an d under each source of origin is d placed the various classes of Rhymes produce . It
h as d t w wh o is s seeme o the riter , him elf a Negro,
a nd h as spent his early y ears in the midst Of the
w s k Rhymes a nd itnes ed their ma ing, that there are
three great divisions derived from three great main
springs or sources . The Divisions are as follows
1 I s d o S o s . Rhyme erived fr m the cial In tinct . H s d d o om s . II . Rhyme erive fr m the ing In tinct
s of s o- o os o III . Rhyme P ych c mp ite rigin . The terms Social and Homing Instincts are familiar
n s - wa to every o e, but the term P ycho composite s
co ined by the writer after much hes itation and with much regret because he seemed unable to fin d a word
which would express what he h a d in mind .
T o make clear : the classes o f Rhymes falling u n
d er Divisions I a nd II owe their crudest initial be
s to s wh os s o ginning in tinct , ile th e under Divi i n
e d s s to s III ow their cru e t beginning partly in tinct,
k o but partly also to intelligent thin ing processes. T — illustrate Courtship Rhymes come under Divisi on
s o s s s o hom II , becau e c urt hip primarily ari e fr m the 2 56
NE GRO FOLK RHYME S
DIVISION CLAss
I . Love Rhymes
. Ho s 2 o II ming In tinct . C urtship Rhymes
s h/I ia Rhyme 3. arr ge Rhymes
i 4. Marr ed Life Rhymes
I Criticism an d
- o III . Psycho composite Rhymes Impr vement Rhymes
s u n w Under thi tabulation , let s o proceed to discuss
' Or i in a nd E o o of o F k the g v luti n Negr ol Rhymes .
Early in my discussion the reader will recall that
I explained in considerable detail how the Dance
w now Rhyme ord s were used in the dance . I am ready to announce that the Dance Rhyme was de
a an t x how n rived from the d nce , d o e plain the Da ce
Rhyme became an evolved pro duct of the dance .
I witnessed in my early childhood the making of
o o wo a few Dance Rhymes . I have f rg tten the rds of most o f those wh ose ind ividual making I wit “ ’ ” messed but the Jonah s Band Party found in our collection is one whose making I distinctly recall .
I shall tell in some detail o f its o rigin because it s erves in a measure to illustrate how the Dance
h a Rhymes probably d their beginnings . First of all “ ” k ow was s be it n n that there a tep in dancing, orig 2 58 NE GRO FOLK RH YME S
’ inated b o e o o o y s me N gr s mewhere , called J nah s ” s Band tep . There is no need that I should try to
s s o of de cribe that tep which , th ugh the plain dance
wa s o type , acc mpanied from the beginning to the ” en d s o by inde cribable frills o f f ot motion . I
’ s n can t de cribe it , but if o e will take a stick and
“ cause it to tap so as to kno ck the words : Setch
’ ’ ’ ” kickin san ! o s d w r a up J nah ban , hile he e
s wo ds peat the r in the time of music meas ure , the taps will reproduce the tattoo beaten upon the
o of s w d gr und by the feet the dancer , hen they dance
“ ’ ” s o the Jonah s Band step . The dancer f rmed a circle placing two or mo re Of their skilled dancers in
N w w ss s the middle of it . o hen I first witne ed thi d h no w d s ance , t ere were or s aid at all . There was d simply patting with the hands a nd ancing, making a tattoo which might be well represented by the wor s s d o n its x s d upplie later in e i tence . Later , I
ss s w witne ed the ame dance , here the patting and
w as one dancing ere usual , but man , apparently the
“ wa s s ou t wo ds S leader imply crying the r , etch a ’ P ) kickin up san and the crowd answered with the
“ ’ ” o s o s d ! — wo s t e w rd , J nah Ban the rd all being peated in rhythmic harmony with the patting and
“ ’ s was o n S i dancing . Thu b r the line , etch a kick n ’ ’ l” up san ! Jo nah s Band In some places it was the 259 NE GRO FOLK RH YMES custom to call on the dancers to j oin with those of f the circle , at intervals in the midst o the dance , in ’ d dancing other steps than the Jonah s Ban step .
So d d s fo r x m s me ance lea er , e a ple , imply called in
“ os — plain pr e Dance the Mobile Buck , others call i n for o s w s g an ther tep ould rhyme their call . Thu
os s s to s s a ar e the la t line each tanza , uch s
’ s O oo Rai e y right f t , kick it up high ! ‘ ’ ” Kno ck dat Mobile Buck in de eye !
’ s is s s f Thi the gene i O the Jonah s Band Party ,
o d u r f un in o co llection . The complete rhyme be
o s a l - c me fine description of an o d time Negro party . It is probable that much Dance Rhyme making o r riginated in this o a similar way. Let u s assume that Negro customs in Slavery d s w w w ay ere hat they ere in my childhood days, then it would come about that such an ocas ional Rhyme making in a crowd would natural ly stimu
m s in late individual Rhyme makers, and fro the e ” d iv idu als would naturally grow up crops of Dance
f o s o so o Rhymes . O c ur e I cann t ab lutely kn w, but
“ ’ I th ink when I witnessed the making o f the Jonah s ” a w ss s w Band P rty , that I itne ed the timulus hich h a d produced the Dance Rhyme through the decades
f a iz w o d s . o s o s prece ing year I re l e , h ever , that thi d e 2 60
NE GRO FOLK RHYME S j ust given h as caused me to believe that Dance
Rhyme Songs were probably evolved from Dance
s r an d s Rhyme pu e imple , through individuals put
o s to s s ting mel die the e Dance Rhyme .
As s o Dance Rhyme came fr m the dance , so like w s s i e Play Rhyme came from plays . I shall now discuss the one fo und in ou r collection under the
“ n o — oosie— d capti n G gan er . S ince the Play h as prob
ss o o o f o ably pa ed fr m the mem ry m st persons, I shall
how w tell it as played . The children (an d some
s os in e s sat time th e their te n ) in a circle . One in d d d k d s d i ivi ual , the lea er , wal e in i e the c rcle, from
“ to d and s to i n o sie child chil , aid each turn , G o ” ”
r . sw gande If the child an ered Goose, the leader “ ” s d o s oos a nd w o ai , I turn y ur ear l e, ent n to the w d ” d x d . s d ne t chil If he an ere Gan er , the lea er “ O’ ’ r said , I pull y years way yande . Then ensued a scuffl e between the two children ; each trying to
’ fo r pull the o ther s ears . The fun the circle came
o cu file wh o fr m watching the s . Finally the child o g t hi o hi the s ears pulled to k s place in the circle , leaving victor a s mas ter of ceremonies to call o u t the chal
“ lenge G oosie- gander The whole idea of the play is borrowed from the fighting o f the ganders o f a
flo ck of geese for their mates . Many other plays
w w o Ex were like ise borro ed fr m Nature . amples are 2 62 NE GRO FOLK RHYM E S o H s Fox f und in awk and Chicken Play , and
“ a nd s is Gee e Play . Caught by a Witch Play o ow d o s e s o o b rr e fr m up r titi n . But to return t ”— G oosie- gander most children o f ou r childhood
s o o o s days played it , u ing c mm n pr se in the call , and
sw s s a w f w an er j u t s e have here described it . A e children here and there so gave their calls and re sponses a s to rhyme them into a kind o f a little poem as it is recorded in our collection . Without further
k do argument , I thin it can hardly be ubted that the
as s os and re wh ole thing began a imple pr e call ,
an d so to sponse, that me child inclined rhyming
“ ” to do s was ss s things , started the re t , and a i ted in accomplishing the task by other children equally or
s so o s for more gifted . Thi rea nably acc unt the origin of the Play Rhyme . ? Now what o f the Play Rhyme S ongs There were many more Play Rhyme Songs than Pla y
w so o f Rhymes. There ere me the Play Rhyme
Songs sung in prose vers ion bv so me children and the same Play S ong would be sung in rhymed ver
k w s sion by other children . Li e i e the identical
Play Song would not be sung at all by other chil
dren ; they would simply repeat the words as in the “ ” - i d s s e . case of the Rhyme G oos e gan er , j u t di cuss d
The little Play S ong found in ou r co llection under 263 NE GRO FOLK RH YM E S
“ o Did Yo u Cow i the capti n , Feed My s one which was current in my childhood in the many versions as j ust indicated . The general thought in the story o f the Rhyme wa s the same in all versions whether
os or or so . s w pr e rhyme , ng In ca es here children
s o f s was l repeated it in tead inging it , it general y in
' prose a n d the questions were so framed by the leader that all the general responses by the crowd were
“ ’ ” Y es ! was s was inva ri , Ma am Where it ung, it ably rhymed ; a n d the version found in this collec tion wa s about the usual one .
The main point in the discussion at this j uncture — is that there were large numbers of Play Songs like this on e found in the transition stage from plain
d to s os to . S pr e repeate rhyme , and ung rhyme uch a status leaves little doubt that the Play Song trav
ll it oc ss f o c ed this general road in s pr e o evoluti n .
a o s s a nd s ow I might t ke up the C urt hip Rhyme , h
d s o f o s an so on to that they are erivative C urt hip , d
f ll ss my o the end o a the cla es given in utline , but since the evidences a n d a rguments i n a ll the cases are essentially the same I deem it unnecessary .
I now turn attention to a peculiar general ideal in
o k s o is Form found in Negro F l Rhyme . It pr bably
s who n ot generally known that the Negroe , emerged ’ from the House of B ondage in the 60 s of the last 2 64
NE GRO FOLK RHYME S
’ s f s o o s Harris book . The gi t o the t ry is as foll w
’ The fox and the rabbit fall in love with King Deer s
fox a o e su c daughter. The h s just ab ut b come the
u l s o w o s o cessf uit r , hen the rabbit g e thr ugh King
’ ’ H e Deer s lot and kills some of King Deer s go ats .
t a n s fox then goes o King Deer , d tell him that the
s Of s to k f x killed the goat , and fer ma e the o admit
’ s d the deed in King Deer s hearing . Thi being agree to o s to fox o o , the rabbit g e find the , and pr p ses that
fox they serenade the King Deer family . The
th e o os s agreed . Then rabbit pr p e that he sing the
“ ” “ ” a fox s S on e r C ll and that the ing the p s (o , as
H s o ds s o n d Mr . arri rec r the t ry, the a
now . this too was agreed upon . We quote from Mr
Harris : “ l ’ k O e Br er Rabbit , he ma e up de song he own
’ ’ se f en he fix it so that he sing de Ca ll lak de Cap
’ ’ co n - l Fox tain er d e pile , en o e Br er , he hatter sing ” “ l ’ de answer O e Br er Rabbit , he got de call en be open up la k dis
’ So o s mo o me f lk pile up n dey kin t te,
’ ’ ’ En dat w a t d e matter wid King Deer s goat .
’ ‘ ’ ’ Fox a en den Br er , he make nswer , Dat s so, dat s
’ ’ ’ so dat . D , en I m glad it s so en de quills, and de 266 NEGRO FOLK RHYM E S
’ ’ o tr angle , dey c me in , en den Br er Rabbit pursue on wid de call
‘ So s so me kill heep , en me kill shote ,
’ ’ Fox But B r er kill King Deer goat ,
’ ‘ d en Fox wid w en Br er , he j ine in de ans er, I did , I ’ ’ did , en I m glad dat I did .
The writer wo uld a dd that the story ends with a statement that King Deer came ou t with his walking
fox a n h cane , and beat the , d t en invited the rabbit in to eat chicken pie.
From the forego ing one will recognize the nam i n b o s s s o f of g, y the Negr e them elve , the parts their
“ ” “ ” so as a d rhymed ng, call , n answer . Now j ust a w “ w ord concerning the term ans er , instead of
“ ” s nse as s d w Y ou w po , u e by the riter . ill notice
’ H s o ds d of that Mr . arri rec r , inci entally , Br er Rab
’ s ca ll co n bit dat he ing de , lak de Captain er de
h to s of pile . This as reference the inging the
Negroes at com huskings where the leader sings a
o wa of o s kind o f solo part , and the thers by y resp n e ,
f or s o s s a s sing a kind o ch u . At c rn hu king , at pl y ,
w oes s s so s and elsewhere , hen Negr ang ecular ng ,
d bo wit some on e was chosen to lea . As a little y, I nessed secular singing in all these places. When a
o s of his com leader was chosen , the invariable w rd 267 NE GRO FOLK RHYME S
‘ ’ ’ mission were : Y ou sing the call and we ll sing
' ’ I) n Of co s s was not the spa se. ur e the entence quite
“ w o s so ell c n tructed grammatically , but call and
“ w s w s s sponse ere the term al ay u ed . This being
o to u se s true, I have felt that I ught the e terms, though I recognize the probability of there being o s w wo a n er wo c mmunitie here the rd sw uld be used .
o k s a n w s d f t o All f l term d riting have i feren versi ns. ” The spou ses in most of the Negro Folk Rhymes
ou r o o w a nd in c llecti n are anting, the Rhymes them s s in os s s o s s o f ca s o x elve , m t ca e , c n i t ll nly. As e
“ s o f os w u ses ample th e ith spo left , may be men
“ ” “ ” “ tioned Juba with its spouse Juba Frog Went
” “ “ A- ou w its s onse — ! Di Y ou c rting, ith p Uh huh d
’ Cow w its s ous Y d es . Fee My ith p e , Ma am , etc , ” a n d l k s w The O d Blac Gnat , here the sponses are “ i ’ i ’ t ou t n . I ca n t g here , etc
I shall now endeavor to show why the Negro ” s o s s o f Folk Rhyme c n i t in m st cases o calls only ,
“ ” a n d how a n d why the sponses have disappeared
o d o s from the finished product . I rec r here the n te o f two common Negro Play S ongs along with sam
z o ple stan as used in the singing of them . I h pe
ou s d Of s to k thr gh a little tu y the e , ma e clear the
d o to o of matter o f Folk Rhyme evel pment , the p int
“ ” n d ropping the spo se. 268
NE GRO FOLK RHYM E S
s s so — s f The e imple little ngs, the fir t made up o
o s s o of s — ' five n te , and the ec nd even , are typical
o so n o Negr Play ngs. I shall t describe the simple play which acco mpanied them because that descrip tion would n ot add to the knowledge of the evolu d tion un er consideration .
At a Negro Evening Enter tainment several such so s wo so ng uld be sung and played , and me indi “ ” vidual would be chosen to lead or sing the calls of
’ of so s ous s each the ngs . The p e in some cases were
“ ” s s k H meaningles utterance , li e olly Dink, given
s so o d w in the fir t ng rec r ed , hile others were made up
’ ’ of some sentence like Tain t Gwineter Rain NO
o o f und in the sec nd song given . T he
“ sponses were not expected to bear a special con “ ” tinuous o o o relati n in th ught t the calls . Indeed
’ no one ever thought of the sponses as conveyers of
o w . th ught , hether j umbled syllables or sentences
The songs went under the names of the various
n So spo ses . Thus the first Play ng recorded was
“ ” ’ ’ w s Ho s kno n a lly Dink, and the econd as Tain t
G win eter Rain NO The playing and singing of each of these songs
commonly went on continuously for a quarter of
or o . s i s an hour m re Thi be ng the ca e, we scarcely
need a dd that the leader of the Play S ong had both 2 70 NE GRO FOLK RHYM ES
o x to o his mem ry and ingenuity ta ed their utm st, in “ ” devising eno ugh calls to last through so long a
o o f of o o s a nd peri d time c ntinu u playing singing .
The reader will notice under both of the Play Songs
“ o I rec rded , that have written under (a ) two ” of os s o stanzas pr e call . I w uld co nvey the th ought
to s s o s one the reader , by the e illu trati n , that the
“ s wa s to u se and singing the call at liberty , did
u se any prose sentence that would fit in with the “ ” o call measures of the s ng .
“ Of course these prose calls h a d to be rhythmic
to o s s o was al fit int the mea ure , but much freed m
o in s o d to o s l wed re pacing the time all tte n te , and
“ in the redivis io n of the n otes in the fi tting in
s a s o process . Even these prose t nza b re the mark
a w no o f Rhyme to the Negro fancy . The re der ill
“ ” w is os is w s tice that , here the call in pr e , it al ay w repeated , and thus the line in fancy rhymed ith
s as o ou r S o d P So : itself . Example f und in ec n lay ng
“
H s o os . ail t rm , fr ty night
H s o o . ail t rm , fr sty night
as o s d d o s o N ow, it w c n i ere by Negr es , in the day g ne
so of o s for a to by, mething an acc mpli hment leader “ ” for so o e n be able to sing calls, l ng a tim , whe they
s a co bore some meaning, and till a greater c mplish 2 7 1 NE GRO FOLK RHYM E S ment to sing the calls both in rhyme a n d with mean
s led d d to his s as ing . Thi each in ivi ual rhyme call far as possible because lea ders were invited to lead
’ songs during an evening s entertainment, largely in
w b s os s acco rdance ith their a ility , and thu th e de iring to lead were co mpelled to make attainment in both
Now l o rh yme and meaning. , the reader wi l n tice
“ “ ’ d H k d sho o s un er olly Din , hea ing I l ve
s is o f o of Miss D onie . Thi a part the pening line
“ ” wo d ou r o k s an d s k s . Negr Rhyme , Li e Di li e I ul convey th e thought to the reader that this wh ole
o o R w wo Rhyme , and any ther Negr hyme hich uld
s o d was fit into a music mea ure , c ul be , and 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
d s for another , succee in rhymin g the call a f hi “ quarter o an hour . If s Rhymes gave N o t s d os s and s u , he u e rhythmic pr e call ; ince
s id n ot d to h is w n the e d nee have meaning , store as u
s as limited . Ju t any Rhyme which co uld be fitted
“ into a music measure would be used with Holly ” k so w o d Din , any Rhyme hich c ul be fitted into a
’ ’ measure would be used with the Tain t
G wineter Rain No Illustrations given under ” (b) a nd under the last mentioned song are 2 72
NE GRO FOLK RHYM ES and since Memory works largely through Associa tion ; one read ily sees that the putting of the Rhymes
o s o s o r s k o int a t ry , de criptive , tri ing th ught form , was the o nly thing that could cause their being kept
was o o alive . It nly thr ugh their being composed thus that Association was able to assist Memo ry
os in recalling them . Th e carrying another form w carried their death arrant .
Now let us look a little more intimately into how
w o o o the Rhymes ere pr bably c mp sed . In collecting
o h ad s them , I ften the ame Rhyme given to me
o f t d d over and ver again by di feren in ivi uals . Most
of the Rhymes were given by d ifferent individuals
s f s in fragmentary form . In ca e o all the Rhyme
o d w s s z thus received , there w ul al ay be a half tan a ,
’ or a whole stanza which all contributors versions
“ A x s : o s s of held in common . s e ample in Pr mi e ” o r o s Freedom , all c nt ibut rs gave the line
My ole Mistiss promise me
’ ’
s set . W en she died , he d me free
ss d s o d In She Hugged Me and Ki e Me , the ec n
“ Ol o - stanz a was given by all . In d Man Kn w All ,
the first two lines o f the last stanza came from all
w s s s wh o gave the Rhyme . The riter term the e part
s s ow to all of the individual Rhyme , eemingly kn n 2 74 NE GRO FOLK RHYME S wh o no o s h ver . k w the p em , ey ses The very fact
s s o o t e to that the key ver e , nly , are kn wn o all , se ms
me to warrant the conclusion that these were pro b
s s s ably the fir t ver e made in each individual Rhyme .
Now an indiv idu al d one when ma e such a key verse,
“ ” can easily see that various singers of calls using
it would attempt to associate other verses o f their
own making with it in order to remember them all
“ ” o for their long singing Bees . The st ry , the de
k o s con scription , and the stri ing th ught furni hed
f s s so venien t vehicles for this association o ver e ,
s is as to make them easy to keep in memory . Thi
“ why the verses of many s ingers of Calls finally
- s became blended into little poem like Rhyme .
“ ” “ s ous I have pointed ou t call and p e, in
s ow how o Rhymes, and have h n , thr ugh them , in
o o f o o song , the f rm the Negr Rhyme came int ex
o f s s a isten ce . But many the Pa time Rhyme p
paren tly had no connection with the Play or the
n w o to o for s Dance . I must o endeav r acc unt uch
Rhymes as these .
o s s o of In order to d thi , I mu t enter up n the task “ ” “ ” trying to show how call and spouse originated . “ ” “ ” The o rigin o f call and sponse is plainly writ
So s ten on the faces o f the rhymes of the cial In tinct
o o re type . Read once again the f ll wing rhyme 2 75 NE GRO FOLK RH YM E S corded in ou r collection under the caption of Ante ” bellum Co urtship Inquiry
“ ’ ’ H e Is ou fl in or s o ( ) y a y lark , a ettin d ve “ ’ ’ ” S Ise fl in Ho o . ( he ) a y lark, my ney L ve
’ ’ I o u 0 one or 0 (He) s y a bird fedder, a bird ” two ?
’ ’ ’ — d 0 one d w en o s to (She ) Ise a bir fed er , it c me
$ 7 you . “ (H e ) Den Mam
“ ’ I has desire an quick temptation
’ T o j ine my fence to yo plantation .
o o . This is primitive c urtship ; direct , quick, c nclusive
of one and It is the crude call heart , the crude
o sw and response o f a nother heart . The tw an ering
n o on e s blendi g int , in the primitive day , made a
“ ” ” — n is an e rhymed couplet o e. It call d spons , born to Vibrate in complementar y unison with two
“ Di s n hearts that beat as one. d all Negroe car ry o ? ” o s s o d 0 not c urt hip in thi manner in l en days N ,
o by any means . Only the m re primitive by custom , an d o w s s d s o s of o ther i e u e uch f rm c urtship . The mo re intelligent o f those who came ou t o f slavery
’ d w s s o s r own and had ma e the hite man cu t m thei ,
s s as a w f laughed at uch cruditie , quite much s e o
s w s i the pre ent day . The riter think h s ability to 2 76
NE GRO FOLK RH YME S
o not so calls a nd responses obtain there , th ugh
H so s s mus ical . e al tell me that the call have a mean
s an d s o s s for os ing there . There are call re p n e th e
for for o of lost in the forest , fire , the appr ach ene
s s o s ow mie , etc . The e Alabama Negr call , h ever ,
a an d c s and s o ses so h d no meaning, yet the all re p n
fitted into each other as to make a little complete tune .
a d l s d Now, I h d heard fiel ca l all uring my
d oo ss s so w early chil h d in Tenne ee , and the e al ere
w d s ans ered by men in a j oining field . But the Ten nessee cal ls a nd responses which I remembered had no kinship which would combine them into a kind of little co mpleted song as was the case with the
s Alabama calls and response .
ss w s was u t Again , in Tenne ee hen a mu ical call
r s ne ose te ed by the laborer in o field , th in the other
fields around would often u se identically the same
s s s s call as a response . The Alabama call and re pon e w w s o w os of ss o . ere h rt , hile th e Tenne ee ere l ng
“ ” “ ' I am listing an Alabama call and response .
l f am I regret that I cannot reca l more o them . I also recording three Tennessee calls o r responses
am (for they may be called either) . Then I record
on e o n ss not x ing a fourth fr m Ten e ee , e actly a call , but partly call a nd partly song . The reason fo r 2 78 NE GRO FOLK RHYME S
s w a thi ill ppear later . By a study of these I think w e can pretty reasonably make a final interesting d “ ” de uction as to the general origin of call and ” spouse in the form o f the types of Rhyme not
d ss already iscu ed .
In the Alabama Field Call and response one can
“ ” not help seeing a counterpart in music o f the call “ ” and sponsa in the words of the types o f Rhymes
s already di cussed .
ALABAMA FIELD CALL AND RE S PONSE
Ah ah
Ah ah
T E NNE S S EE FIELD CALLS ORRE SPONSES
Hoo wee hoo wee hoo wee hoo!
Hoo wee hoo wee hoo wee 2 79 NE GRO FOLK RHYM E S
Ah ah ah
Rssronss fi )
Ah ah ah ah ah ah
CALM?) ll
Ah a h ah ah ah ah ah a h ’ Sometims Iwan s a i a oe a e a i ce 0 ( e) t p ece h c k Iwants p e bread .
RESPONS E
Ah ah ah ah ah ah a h !
’ ’ Well l se so tired an hongry dat Ise almos dead .
“ ” 1 - - e . Ole Bil ly Baw lie Eh hoo hoo we ! “ I hea ! l r Eh hoo hoo wee! 2. rs you ho e
” Ole Bil ly Bow- li e Eh hoo wee hoo! “ ” I hears you hoI ler Eh hoo wee hoo !
2 80
NE GRO FOLK RH YME S divide right in the middle to make a call and ” o Now ook d s e sp nse. l at Number 3 un er Tenne s e
wa s d off w s a h calls . It s u ually crie ith the yllable an d would easily d ivide in the middle . I remember
“ ” this call very distinct ly from my childhood because the men giving it placed the thumb upon the larynx a nd made it vibrate longitudinally while uttering the
s sed od d cry . The thumb thu u pr uce a peculiar screeching and rattling tone that hardly sounded
“ w w o f human . But the ords I ant a piece hoecake,
“ ” as co d d the w o re r ed un er call , ere ften
s we r a rhymed o ff in song with it . Thu t ce the
“ ” ” form of call and sponse from the fr iendly mu
sica l greeting between laborers at a distance to the
place of the formation of a crude Rhyme to go with
o s o it . I would have the reader n tice that the e w rds
“ ” “ ” finally supplied were in call and spouse form .
“ The idea is that one individual says : I wan t a
’ k w 0 and an piece o f hoeca e , I ant a piece bread ,
“ ’ : Ise so other chimes in by way of response Well , I’ ’ tired and h ongry dat se almos dead .
“ Ole Billie B awlie found as Number 4 was a
little song which was used to deride men who had “ " little ability musically to intonate calls and
“ H ” B awlie was to sponses. The name applied em ph asize that the individual bawled instead of sound 2 82 NE GRO FOLK RHYM E S in s o g plea ant n tes. It is of interest to u s because it
“ ” is a mixture of Rhyme and Field call and com pletes the connecting links along the line of Evolu ” “ ” tion between the call and spouse and the
Rhyme.
Wherever one thing is derived from ano ther by
o ss of E o o i pr ce v luti n , there s the well known biologi cal law that there ought to be every grade of con necting link between the original and the last evo lved l w a o s oo ou r s . product . The h ld g d here in Rhyme If this last statement holds good then the law must
e to ss be universal . May w be permitted digre
to law is s s enough show that the univer al becau e , though it is a law whose biological phase h as been
o o not o has to l ng rec gnized , much attenti n been paid
s it in other field .
It holds goo d in the world of inanimate matter . There are three general classes of chemical com w o s : s s s s . o p und Acid , ba e , and salt But al ng ith
these three general classes are found all kinds of
: s s s s o connecting links Acid alt , ba ic salt , hydr xy acids, etc.
It holds good in the animal and plant wo rlds .
Looking at the ancesto rs o f the h orse in geological
histo ry we find that the first kind o f horse to ap
He pear upon the earth was the Ct ippus . had 2 83 NE GRO FOLK RHYMES
four toes on the hind foo t and three on the front
one. o o o Thr ugh a l ng peri d o f developmen t, the present day one- toed ho rse descended from this
- o o many t ed primitive ho rse . There is certainty f the
line of descent of the horse because all the connect
in s s o oss o be g link have been di c vered in f il f rm ,
w o s a n d o s t een the primitive h r e the present day h r e .
Pla nts in like manner sh ow all kinds of connecting
ks lin .
The law holds sway in the world o f language ; and that is the world with which we are concerned
s of o s a o o to here. The tate L ui i na nce bel nged the French ; now it belongs to an English-speaking peo
n oes o o s ple . If o e g am ng the Creoles in L ui iana he will find a very few wh o speak almost Parisian
E s French and very poor ngli h . Then he will find a very large number wh o speak a pure English and a
w s s w very poor French . Bet een the e cla ses he ill
find those speaking all grades of French and English .
and These last mentioned are the connect ing links ,
the connecting links bespeak a line of evolution
where those o f French descent are grad ually passing
over to a class which will finally speak the English
language exclusively .
Now let us turn ou r attention again directly to
the discussion of the evolution of Negro Folk 2 84
NEGRO FOLK RHYM E S
” “ ’ ” “ ” s — o s S oo ! S oo ! ply, Let Marry C urt hip , h h
o to a n o s. When I G Marry , d many ther
“ ” a n d s nse s s one Call po even run , at lea t in w “ ’ s w o s . o d ca e , bet een h le Rhyme I W ul n t Marry a
” “ ” " ” Black Girl as a call h as for its sponse : I
’ r Wouldn t Mar y a Yellow o r a White Negro Girl .
“ ’ The Rhyme I d Rather Be a Negro Than a Poor “ ” ” Wh ite Man is a spon se to an imaginary call
i o that the Negro s inferi r by nature .
so o s o as o f Ne After me c n iderati n , c mpiler o the
r o s o o t a g Rhyme , I th ught I ught o s y something
of s s o o s their rhyming y tem , but bef re d ing thi I
want to consider fo r a little the general structure
of a stanza in Negro Rhymes .
i no law of Of course there s , but the number
lines in a stanza of English po etry is commonly a
o o f o multiple of two . The large maj rity Negr
s of Rhymes follows this same rule , but , even in ca e
s so s a thes e , the line are un ymmetrical th t they make
but the faintest approach to the commonly accepted
s w s s of standards . Then there are Rhyme ith tanza
w six and three lines an d there are those ith five , ,
s s is s s s even line . Thi becau e the imaginary mu ic
s d of measure is the unit of measurement in tea feet ,
a n d the stan zas are all righ t so long as they run in
consonance with the laws governing music measures 286 NE GRO FOLK RHYM E S
“ a nd rhythm . In a tune like Old Hundred oom
ou s s a r are m ly u ed in churche s a Doxology , the e fo ur divisions in the music corresponding with the
o f z s o s . E f ur line the tan a ach division is called , in
s w mu ic , a Phrase . T o of these Phrases make a
Phrase Gro up an d two Phrase Gro ups make 2
N w w e o Period . o hen on moves musically thr ugh a
Phrase Group h is sense of rhythm is partially satis
' fied an d wh en he h as moved thro ugh a Period the sense o f Rhythm is entirely satisfied .
When on e read s the three line stanzas of Negro
Fo lk Rhymes he passes through a music Period and E thus the stanza satisfies in its rhythm . xample
Bridle up er rat ,
Saddle up er cat, ’ ’ w An han me down my big stra hat .
Here the first two lines are a Phrase each and d constitute together a Phrase Group . The thir line
f wo s s or s o is made up o t Phra e , a Phra e Gr up in
s d o w s two itself . Thus thi thir line al ng ith the fir t makes a Music Period and the who le satisfies ou r
s rhythmic sense though the line are apparently odd .
s ow odd an d In all Negro Rhyme , h ever in number
s s s however ragged may eem the line , the mu ic 2 87 NE G RO FOLK RH YME S
Phrases an d Periods are there in such symmetry as to satisfy ou r sense of rhythm .
I n ow turn attention to the rhyming o f the lines
s o d s s s of as in Negro ver e . The r inary y tem rhyming set forth by ou r best auth ors will take in most Negro
s o f d Rhymes . Mo t them are A j acent and Inter
s s s o f woven Rhymes . There are five y tem rhyming
’ commonly used in the white man s poetry but the
H a we Negro Rhyme h as nine systems . ere ag in find
f s s s s as a s o . a paralleli m , in c e mu ic cale , etc Five
o d com in ea ch system are the same . The r inary monly accepted sy s tems are
w Where the adj acent lines rhyme by t os . We
“ ” “ call it Adj acent rhymes o r a Co uplet .
Where the alternating lines rhyme we
“ ” “ ” r call it Alternate o Interwoven Rhyme .
er s I an an d 2 Wh e line d 4 , and 3 rhyme
w o s is respectively ith each ther . Thi called
“ Close Rhyme .
2 88
NE GRO FOLK RHYME S
I present herewith the outline and follow it with explanations
Class S ystems
So I Rhythmic litaire . (a ) Rhythmic measured
Rhymed Doublet Regular (Adj acent Rhyme) Divided (Includes Close Rhyme) S upplemented .
Rhyming Doublet Regular (Includes Alternate Rhyme) Inverted (C l o s e Rhyme)
IV Rhymed Cluster (a) Regular (b ) D i v i d e d (Inter r upted Rhyme) (c) Supplemented
s I a Rhythmic Solitaire , Rhythmic mea ured
s lines. In many Rhyme there is a rhythmic line ’ dropped in here and there that doesn t rhyme wi th 2 90 NE GRO FOLK RH YM ES
o any ther line . They are rhythmic like the other lines and serve equally to fill ou t the music Phrases
o and Peri ds . These are the Rhythmic Solitaires and because of their solitaire nature it follows that
o ne E there is nly o system . xamples are found in
“ ” the first line of each stanza o f Likes and Dislikes ; in the second line of each stanza of Old Aunt
“ ’ Kate in lines five a nd six of each stanza of I ll ” o o ss Wear Me a C tt n Dre , in lines three and four “ ” f Sw t s ss S o the ee Pink Ki ing ong, etc The Rhythmic Solitaires do not seem to have been largely used by Negroes fo r whole compositions . Only one whole Rhyme in ou r collection is writ ten with Rhythmic Solitaires . That Rhyme is “ w ” Song to the Runa ay Slave . This Rhyme is made ’ up of blank verse as measured by the white man s standard .
o s II a . The Regular Rhymed D ublet. Thi is
as u r o o d the same o c mm n A j acent Rhyme. There are large numbers of Negro Rhymes which belong
“ ” t i . o this system . The Jaybird s a good example 11 b d d . The Divi e Rhymed Doublet . It in eludes Close Rhyme an d there are many of this
o os o ne set f system . In rdinary Cl e Rhyme o rhym ing lines (two in number) is separated by two inter “ ” venin s s o Ne g line , but thi Rhyming C uplet in 2 9 1 NEGRO FOLK RHYME S gro Rhymes may be separated by three lines as in ” w o Bought Me a Wife , here the divided d ublet consists of lines 3 and 7 . Then the Divided Rhymed
on as Doublet may be separated by only e line, in
“ ” o - b o o Go d y, Wife, where the D ublet is f und in lines 5 and 7 .
II c. The Supplemented Rhymed Doublet . It “ ” is illustrated by Juba found in ou r collection . The
“ ” words Juba ! Juba ! found following the second
of s . line each stanza , are the upplement I shall take up the explanation of Supplemented Rhyme la
s o o s w S ter , ince the explanati n g e ith all upplemented
n t o o o s Rhyme and o with the D ublet nly . I c n ider the Supplement one o f the things peculiarly charac
eris ti l t c of Negro Rhyme . The following stanza i lustrates such a Supplemented Doublet
“ Juba jump ! Juba sing ! ’ ” Juba cut dat Pi geon s Wing ! Juba ! Juba Representing such a rhyming by letters we have (a (a - x
II o I. The Rhyming D ublet . It is generally made up o f two consecutive lines not rhyming with each other but so constructed that one of the lines will rhyme with one line o f another Doublet simila rly o s o c n tructed and f und in the same stanza .
29 2
NE GRO FOLK RH YME S
d s s o f on Rhyme Clu ter in tead e. An example of this “ ” is o d f un in Animal Fair , whose rhyming may (a be represented by the lettering (a (b (b (a I c. S V The upplemented Rhymed Clusters. They
w s o are ell repre ented in Negr Rhymes . Some have
“ ” s s as a ingle upplement in Negroes Never Die, (a whose rhyming is lettered (a
(a - x
S ome have do uble supplements as in Frog Went a (a - x Courting whose rhyming is lettered (a
(a - x
Now o s did no t Negr e retain , permanently , mean in less wo ds s g r in their Rhyme . The Rhymes them
“ ” s s w s a n h a d elve ere call d meaning. The
“ ” ” “ ” “ on s Ho — Oh sp se , such as lly Dink, Jing Jang,
” ’ ’ ou w win eter no fare y ell , Tain t g rain more ,
h a n etc . , that d o meaning, died year after year and
“ new s onses a n so s o x s p d ng came int e i tence . Let u s see what these permanently retained seem i l s ng y senseless Supplement mean . 2 94 NE GRO FOLK RHYME S
In Frog Went a - Co urting we see the S up “ ” plement uh - huh ! uh - huh ! It is pl aced in the midst to keep vividly before the mind o f the listener the ardent singing o f the frog in Spring during h is
o s s so w w f c urt hip ea n , hile e hear a recounting o his adventures. It is to this S imple Rhyme what stage scenery is to the Shakespearian play o r the
s s to ow Wagnerian opera . It eem me (h ever crude his ver se) that the Negro h as here suggested some
o f o H s s s thing new to the field p etry . e ugge t that ,
a s o o r w not o to while on e recounts t ry hat , he c uld
advantage u se words at the same time having no
bearing on the sto ry to depict the surroundin gs
d o or settings of the production . The gifte Negr
b h as s d s poet , Paul Laurence Dun ar , u e the upple
hi o is ment in this way in one o f s poems . The p em
“ ”
S . s called A Negro Love ong The little entence ,
“ ” k Ho k is ow in Jump bac , ney , j ump bac , thr n in ,
n o f s Ex the midst a d at the end each tanza . plain
in o ow is w d g it , the f ll ing ritten by a frien , at the heading o f this poem
“ ’ o s Dur in g the W rld Fair he (Mr . Dunbar ) w served for a short time as a h otel aiter . When the
Negro es were not busy they had a custom of con
o w gregating and talking ab ut their s eethearts . Then
wo d o o as a man with a tray ul c me al ng and , the 2 95 NE GRO FOLK RHYME S d - oo was owd wo d sa ining r m frequently cr ed , he ul y
“ w d of ass oo k Ho hen in nee p ing r m , Jump bac , ney ,
’
. Ou t of o o confi ences j ump back the c mm nplace d , —‘ he wove the musical little composition A Negro ’ o L ve Song .
Now s k Ho k , thi line , Jump bac , ney , j ump bac , was s d u e by Mr . Dunbar to recall an d picture before the mind the scurrying ho tel waiter as he bragged to his fellows o f his sweetheart an d told his tales
“ of d i a s a venture . It s the st ge cenery method used
he l r s s by t slave Negro verse maker . h . Dunbar u e
“ ” “ ” “ ’ s s so b s o d Lil thi tyle al in A Lulla y , Di c vere ,
” “ s d kn ow Gal and A Plea . Whether he u e it ingly
all s s o r w s s in ca e , hether he in tinctively ang in the
as d s s o f his s o o me ure train benighted ance t rs, I d not know.
The Supplement was used in another way in Ne
s x d gro Folk Dance Rhyme . I have already e plaine h ow the Rhymes were used in a general way in
Let u s the D ance . glance at the Dance Rhyme
“ ” “ ” it S ! ! to il Juba with s upplement , Juba Juba ” lustrate this special u se of the Supplement . Juba
Now u s ima itself was a kind of dance step . let g ine two dancers in a circle o f men to be dancing while the fo llowing lines are being patted and re peated 2 9 6
NEGRO FOLK RHYME S
“ ’ — Ise gwine ou t on de Anchor Line Mary, etc .
The Supplement then seems to have been used in so me cases to broaden the scope o f direct application o f the Rhyme .
The last u se of the S upplement to be mentioned
“ is clos ely related in its nature to the stage scenery
s k o f S use al ready mentioned . Thi ind upplement is used to depict the mental condition or attitude of an individual passing through the experiences being
“ r oo x s o d s elated . G d e ample are f un in My Fir t ” an d My Second Wife where we have the Supple ’ d w u n t o w . an ments, No w s I s rro ful in mind , etc ;
“ ” in S tinky Slave Owners with its Supplements
“ “ - h - h Eh Eh S o s o etc .
The Negro Rhymes here and there also have some kind of little introducto ry word o r line to each
o s d s so e to stanza . I c n i er thi also mething p culiar
intro u c Negro Rhyme . I have named these little d
“ ” c w to ry wo rds or senten es the Verse Cro n . They are receivers into which verses are set and serve as
o As d dividing lines in the pr duction . the rea er
w o o of w s kno s, the p rti n the ring hich receive the gems and sets them into a harmonious whole is
“ called the Crown H aving borrowed the terms
S o o for the s s a for litaire , D ublet, etc ver e , the n me 2 98 NE GRO FOLK RHYM E S these introducto ry wo rds an d lines automatically be “ ” V s w came er e Cro n .
Just a s I have figuratively termed the Supplements
“ ” one s in place stage cenery , so I may with equal “ ” propriety term the Verse Crown the rise o r the ” of s fall the tage curtain . They separate the lit
s of s o s s A tle Act the Rhyme int cene . s an example
“ " o t k read the c mic li tle Rhyme I Wal ed the Roads .
“ ” The wo rd Well to the first stanza marks the rais ing of the curtain and we see the ardent Negro boy lover nonsensically prattling to the on e of his fancy abo ut everything in creation until he is so tired that
he can scarcely stand erect. The curtain drops and
“ o s o d rises with the w rd Den . In thi , the sec n
s s o to o w cene , he finally get ar und the p int here
he makes all manner of awkward protestations o f
o f is love . The hearer the Rhyme left laughing,
with a sort o f satisfactory feeling that possibly he
’ s d o succeeded in his suit and pos ibly he di n t . Am ng
the many examples of Rhymes where verse crowns
serve as curtains to divid e the Acts into scenes may
“ ” “ s Wa s d be mentioned I Wi h I an Apple , Rejecte
“ ” “ o s s by Eliza Jane , C urt hip , Pla ter , The
” “ o w o s . Newly Weds , and F ur Runa ay Negr e
Though the stanzas in Negro Rhymes commonly
so s as have j ust one kind of rhyming, in me ca es many 2 99 NE GRO FOLK RHYMES as three o f the systems of rhyming are found in one s tanza . I venture to suggest the calling of those with
“ one system Simple Rhymed S tanzas ; those with ” two o x S z , C mple Rhymed tan as ; those with more
“ ” two o x z than C mplicated Comple Rhymed Stan as .
I next call attentio n to the seeming parodies found o s o o cca i nally am ng Negro Rhymes . The words of most Negro parodies are such that they are not fit
“ f o : H d or print . We have rec rded three e Pai
“ S od on Now ow to Me even , Par y I Lay Me D n
” “ S a n o on s s s leep , d Par dy Reign , Ma ter Je u ,
s x of Ne Reign . We can be t e plain the nature the gro Paro dy by taking that beautiful a n d touching “ ” - o S to s s an d well known Jubilee s ng, teal Away Je u
Its h is briefly recounting the story of its origin .
w o d w not tory is well kno n . We h pe the rea er ill be d isappointed when we say that this song is a parody in the sense in which Negroes composed an d used
s parodie .
The words aro und which the whole song ranges
“ ’ s s ot o to itself ar e Steal away to Je u , I hain t g l ng
Now s ro s on w stay here . the lave Neg e the far a ay plantations o f the S outh occas ionally met in the dead o f night in some secluded lonely spot for a religious meeting even when they h ad been fo rbidden to do
o so so by their masters . S they made up this ng, 300
NE GRO FOLK RHYM E S
Now let u s consider the parodies recorded in ou r
o o o i C llecti n . The Par dy on the beautiful l ttle child “ ” Now w prayer , I lay me do n to sleep is but the
o s o o f wo wh bitter pr te t fr m the heart the man o, after putting the little white children piously re
“ ea tin s d Now w p g thi chil prayer , I lay me do n to
’ 7 s leep , in their immaculate beds, herself ret ired to a vermin infested cabin with no time left for cleaning
was d s it . It a tira e again t the oppressor but the “ ” o oo - d o c mic, g d nature It means n thing was there to be held up to those calling the one repeating it to
“ s o on ta k . The par dy Reign , Master Jesus, ” Reign ! when heard by the Master meant only a good natured j o cular appeal to him for plenty of and d w o a meat brea , but ith the Negr it w s a scathing indictment of a Christian earthly mas ter
“ os who od H who muzzled th e pr uced the foo d . e ” Paid Me Seven is a mock at the white man for fail ing to practice his own religion but the clown mask is there to be held up for safety to any who may see ,
r k ff the eal side and ta e o ense .
S odies s of lave par , then , are little Rhyme capable
w s o s o f w . t o di tinct interpretati n , b th o hich are true They were so composed that if a slave were accused
o through one interpretati n , he could and would truthfully point ou t the other meaning to the accuser
s and thus escape erious trouble. 302 ss s of o s Under all the cla e Negr Rhyme , with the
o of on o excepti n the e Marriage Cerem ny Rhyme, there were those which were sung and played on in
tru ments S s . ince instrumental music called into ex istence some of the very best among Negro Rhymes it seems a s if a little ought to be said concerning the
’ os fi dle Negro s instruments . Banj and d s (violins )
were owned o nly limitedly by antebellum Negroes .
Those wh o owned them mastered them to such a de
f w o gree that the memo ry o their skill ill l ng linger ,
These instruments are familiar a n d need no discus
sion .
’ r Probably the Neg o s most primitive instrument , w w “ ” his o n as s. which he could call very , Quill It
“ o Fox o is mentioned in the sto ry , Br ther , Br ther
’ ” a n d s w al Rabbit , King Deer Daughter hich I have
d w no ready quoted at some length . If the rea er ill
o w see s o f tice in this st ry he ill , after the inging
fox s o the first stanza by the rabbit and , a de cripti n
’ r s s and de in these wo d , Den de quill de tr angle , y
’ ’ o s on wid . c me in , an den Br er Rabbit pur ue de call ’ Here we have described in the Negro s own way the
long form o f instrumental music comp os ition which i ‘ o s ss s we have hithert di cu ed , and quill and
“ ’ tr angles are given as the instruments . In my early childhoo d I saw many sets o f ” w s o s o one Quills . They ere h rt reed pipe , cl sed at 303 NE GRO FOLK RH YME S en d d o o ou r S o , ma e fr m cane f und in uthern cane
d s w ad os d one brakes . The ree pipe ere m e cl e at end by being so cut that the bottom of each was a n ode of
“ ” s s w w d s w th e cane . The e pipe ere hittle quare ith a j ack knife and were then wedged into a wooden i w w h s o . frame, and the player ble them ith m uth
“ ” s o r d s w o f s The quill , ree pipe , ere cut uch gradu
’ ated lengths that they constituted the Negro s pe c l r s s o a u ia mus ic Scale . The mu ic interval th ugh p proximating those of the Caucasian scale were not
s s w i s o the ame . At time , hen in a rem ni cent hum r,
I hum to myself some little songs of my childhood .
“ ” On o s o s w s k ou t so cca i n , after ard , I have pic ed me
do o f the same tunes on the piano . When I have ne this I have always felt like giving its production on the pi a no the same greeting that I gave a friend wh o
h a h a d once wo rn a full beard but d shaved . My
“ w H not greeting as ello, friend A ; I came near knowing you .
“ ” Quills were made in two sets . They were
“ ” “ known as a Little S et of Quills a n d a Big S et ” f s w ds o Quill . There ere five ree in the Little
S et but I do not know how many there were in a
Bi S et k w o w g . I thin there ere m re than t ice as many a s in a Little S et . I have inserted a cut of a
“ ” et of s Little S Quill . (Figure I . ) The fact that I 304
NE GRO FOLK RH YME S might be of interest and so I am giving one of those
os wh wo also. If there be th e o uld laugh at the
“ ” crudity o f Quills it might not be amiss to remem
“ ” her in justice to the invento rs that Quills consti
s d o tute a pipe organ in its mo t ru imentary f rm .
T UNE PLAYE D ON A LIT T LE SET OF QUILLS
T UNE PLAYED ON A BIG SET OF QUILLS
306 NE GRO FOLK RH YME S
D to -‘ : . C. S
“ ’ The tr angle or triangle mentio ned 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
w - o hitching horses to a plo . The ante bellum Negr often suspended this U -shaped clives by a string and
it a o on beat . with its pin l ng with the playing
‘ Quills much after the order that a drum is beaten .
These crude instruments pro duced music not of um 307 NE GRO FOLK RH YME S
pleasant strain and inspired the production of some o f the best Negro Rhymes . I would next consider fo r a little the origin o f
r the subj ect matter fo und in Neg o Rhymes . When
“ ” the Negro sings Master Is Six Feet One Way or
“ ” The Alabama Way there is no question where th e
w s of subj ect matter came from . But hen he ings
“ ” “ ” s o or S s animal , calling them all Br ther i ter, and
“ ” o of con Bought Me a Wife , etc . , the rigin the
c ti n w ep on and subject matter is ot so clear . I no come to the question : From whence came such subj ect matter ? f d s o . o H s his Fir t all , Mr J el Chan ler arri , in
“ ” od o to s w h a intr ucti n Night ith Uncle Remus , s
shown that the Negr o sto ries of ou r country have
Kafii counterparts in the r Tales of Africa . He
therefore leaves strong grounds for inference that the American Negroes probably brought the dim ou t
’ lines of their Br er Rabbit stories along with them
w o d hen they came fr m Africa . I have alrea y pointed
ou t that some o f the Folk Rhymes belong to these
’ s S o f Br er Rabbit storie . ince the rigin o the sub
j cet matter of on e is the origin of the subj ect mat
o o ows we s ter of the ther , it f ll that are rea on ably sure of the o rigin of such Folk Rhymes because
“ ”
o d s . of the c unterpart ata pre ented by Mr Harris . 30 8
NE GRO FOLK RH YME S h is s h as no o kin been hard and scaly , and he l nger ” o o g es far fr m the rivers .
This is about as literal an outline of the Ameri
“ ’ can Negro story Why the Alligato r s Back is ” o as one o d s ffe is R ugh c ul have . The light di rence that the direct African version mixes people in with w ’ s o . H s s the plot . Thi al ng ith Mr arri s evidence practically establishes the fact that the Negro ani mal story outlines came with the Negroes them selves from Africa an d would also r ender it practi cally certain that many animal rhymes came in the same way since these Rhymes in many cas es aecom pany the stories.
s not s Then there are Rhyme , animal Rhyme , which seem to carry plainly in their thought con tent a probable African o rigin . In the Rhyme ,
“ ” is not th Bo ught Me a Wife , there only e men
i in f w is s t on g o buying a ife , but there the etting
of l o w s s forth feeding her a ng ith guinea , chicken ,
u . S o o oe n ot etc . , o t under a tree uch a c ncepti n d s fit in with American slave life but does fit into
s o d widely prevailing condition f un in Africa . “ ” w Read the last stanza of Ration Day , here the slave sings o f going after death to a land where there are trees that bear fritters and where there are ponds
S is o me to o f honey. urely there n thing in A rica 310 NE GRO FOLK RHYME S
s s s o s but s ugge t uch th ught , such thought might have come fro m Africa where natives gather their fruit
from the bread tree and dip it into honey gathered
o fr m the forests .
“ s i Read When My Wife Die . This s a Dance
Rhyme Song . When the Rhymer chants in seem
ingly light vein in ou r hearing that he will simply
et o w his w g an ther ife when ife dies, we turn away
s s s we b os our face in di gu t , but turn ack alm t
amaz ed when he anno unces in the immediately suc
ceed ing lines that his heart will sorrow when she i s gone because none better h as been created amo ng
wo o s o n a o see men . The dance g e nd we alm st grim
Death himself smile as the Rhymer closes his Dance
S o w d o s no t to o ng ith irecti n bury him deep , and t
put bread in his hand a nd molasses at his feet that
“ on to o he may eat the way the Pr mised Land .
If you had asked a Negro boy in the days gone by
s So what thi Dance Rhyme ng meant , he would have
’ o ou ow t ld y that he didn t kn , that it was simply an
ol so k o so w d ng he had pic ed up fr m me here . Thus
he would go right along thoughtlessly singing or r e
ss to peating and pa ing the Rhyme others . The danc
ing over the dead and the song which accompanied
no it certainly had place in American life . But do
was ? you ask where there such a place Get Dr . 31 1 NE GRO FOLK RH YM E S
’ “ H S d s William . heppar Presbyterian Pioneers in
” ’ Congo and read on page 1 36 the author s descrip
’ tion of the behavior of the Africans in Lu ken ga s
Land on the day following the death o f one o f their “ w : fellow tribesmen . It reads in part as follo s The next day friends from neighboring villages j oined w s an d ith the e in their best clothes danced all d ay. These dances are to cheer up the bereaved family an d to w s s S o run a ay evil pirit . Dr . heppard als tells us that in one o f the tribes in Africa where
o of was s do o he lab red , a kind funnel pu hed wn int the grave and down this funnel foo d was dropped f r t d o o the deceased o feed upon . I have hear fr m other missionaries to other parts of Africa similar
o ou s os m acc unts . The minute y upp e the Rhy e
“ ” When My Wife Dies to have h a d its origin in
o o o is x . Of Africa , the wh le th ught c ntent e plained course the stan za concerning the pickling of the bones in alcohol is probably of American o rigin bu t
“ ” I doubt not that the thought of the key verses came from Africa . These Rhymes whose thought content I have j ust discussed I c onsider o nly illustrative of the many
o o Rhymes whose th ught drift came fr m Africa .
Many of the Folk Rhymes fall under the heading
“ commonly denominated Nature Rhymes . By ac 31 2
NEGRO FOLK RHYMES s co t as lave preachers uld no , a class, read and they
x s co m were taught their Bible te t by white men , monl y their owners . The texts taught them em
os f r braced m t o the central truths of ou Bible . The s o - ubj ects up n which the ante bellum Negro preached ,
o o r h wever , were c mpa atively few . Of course a very
- few ante bellum Negro preachers could read . In case of these individuals their texts and subj ects were “ ” s l s o carcely imited by the lid f the Bible . I heard
o s of oo sc re these men preach in my childh d days. The following subj ects embrace about all those
t of known o the average these slave preachers.
Ar 1 os so . . J hua . 2 . Sam n 3. The k. 4. Jacob. 5 .
o E — o Phara h and Moses . 6. Daniel . 7 . zekiel visi n
f o s o of . . the valley dry b ne 8 Judgment Day. 9 .
’
1 0 1 1 . o o Paul and Silas in j ail. . Peter . J hn s visi n — on the Isle of Patmos 1 2 . Jesus Christ his love S and . 1 . o o his miracles 3 ervants , bey y ur Mas ters .
w o o No it is strange en ugh that the ign rant slave,
’ w o s o o hile ad pting his Ma ter s religi us t pics , refused to adopt his hymns and proceeded to make his own songs and to cluster all these songs in thought ar ound w the B ible subj ects with hich he was acquainted. If the reader will get nearly any copy of Jubilee Songs he will find that the larger number group themselves 31 4 NEGRO FOLK RHYME S
about Jesus Christ and the others cluster about
o s n , . s s M se Da iel , Judgment Day, etc , ubj ect par tially known and handled by the preachers in their
o s. is on x serm n There j ust e e ception . There is no “ ” S o on S o Jubilee ng ervants, bey your Masters .
“ ” We shall leave for the feeble imagination of the
so Wh reader the rea n y. The Negroes practically left ou t of S o b their Jubilee ngs, Jeremiah , Jo , Abraham ,
So o o S E o Isaac, l m n , amuel , zra , Mark, Luke, J hn ,
s s o s . s b James , The P alm , The Pr verb , etc , imply e cause these subj ects did not fall among those taught
as them preaching subj ects .
’ Now let us consider for a while the Negro s re
’ “ ligion in Africa Turning to Bettanny s T h e
’ World s Religions we learn the following facts
o s about aboriginal African w r hip . The Bushmen worshiped a Caddis worm and an
r s antelope (a species of deer ) . The Dama a believed that they and all living creatures descended from a kind of tree and they worshiped that tree . The Mulungu worshiped alligators an d lion- shaped
o s s s an o idols . The Fantis c n idered nake d many ther
s o or animals messengers of spirit . The Dah mans w
k o so d shiped snakes, a sil tree , a p i n tree and a kin of o cean god whom they called Hu .
Now turning ou r attention to Negro Folk 31 5 NE GRO FOLK RHYME S
! hymes we find them cluster ing around the an imals nf o a w o ab rigin l African Folk orship . The Negr
o s o s t rie rec rded by Mr . Harris center around the e
“ n imals also. In the Folk Rhyme Walk Torn Wil
” “ ” on ou r o s s on l o her tep an al igat r . In The Ark he lion almost breaks ou t of his enclosure of palings . n one rhyme the snake is described as descended t om the Devil a n d then the Devil figures promi
“ i e l w nt y in many Rhymes . Then e have Green
- Dak Tree Rocky o answering to the tree worship .
I have placed in ou r collection of Rhymes a small
" oreign section including African Rhymes . I have
° ecorded precious few but those few are enough
' s 1 o of s 0 show two thing . ( ) That the Negr avage hi rica h as the rhyme - making habit and probably
and a o 1as always had it , thus the Americ n Negr
2 i rou ght this h abit with him to America . ( ) That l small handful from darkest Africa co ntains stanza s
o an d b zz d s m the owl , the fr g, the turkey u ar j u t like the American rhymes .
s Knowing that the Negro made rhyme in Africa , i n d knowing that he centered his Jubilee Song
’ s o NOIdS around his American Chri tian religi n , is it
' rot reasonable to suppose that he centered his sec rlar or African Rhymes around h is African t e ? i gion H e must have d one so unless he changed 316
NE GRO FOLK RHYME S to o as s inf rm men that , she died away and ro e again , ” so s o die h uld all men and again come to life , etc.
I drop the story here because so much of it suffi ces
os my purp e . It brings ou t the fact that the Afri can here had pro bably truly considered the Rab
as a ss bit me enger of the moon . Now the fact that the Hottentots were thus talking in lore of receiv ing 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
- s d o f od . uper being, a kin g
’ I quote again from Dr Sheppard s Presby
“ o s o o 1 1 Ln terian Pi neer in C ng , page 3. King kenga offers up a sacrifice of a goat or lamb on
oo is s n on every new moon . The bl d pri kled a large do his own o s s of all i l in fetich h u e, in the pre ence his
s is fo r f counselors . This acrifice the healthfulness o
’ ” o for all the King s c untry, the crops , etc . I think after considering the forego ing on e will see that there are those of Africa who connect their wor
so ship with the moon . We learn al that there are
’ th os e who claim the rabbit to be the moon s mes
s we s o o senger . From thi , if h uld accept the the ry
we wo d s for Animal Rhymes advanced , ul ea ily see why the rabbit as a messenger of a god or gods
so r s o would figure la gely in Rhyme and in t ry. We 31 8 NE GRO FOLK RH YM E S
so wo d al ul easily see how a nd why as a messenger of “ ” a god he would become B ro ther Rabbit If one will r ead the little Rhyme “ Jaybird he will
notice that the rhymer places the intelligence of the
o his w o n . Ou r o rabbit ab ve the ry accounts for this .
wo o s d o I uld next c n i er the fr g, but I imagine I “ d s : is not hear the rea er aying That a beginning .
How o o o s ab ut y ur bear, terrapin , w lf , quirrel , etc .
Seeing that I am faced by so large an array o f
s animal , I beg the reader to walk with me through
j ust one mo re little path of tho ught and with his
o s s c n ent I hall leave the matter there .
see two of ou r s We , in African Rhyme , lines on a
buzzard and an owl ; yet these African natives do
not wo s s r hip the e birds . The American Negro chil
dren of my childhood repeated Folk Rhymes con~
w o fox . h cerning the rabbit , the , etc , ith ut any thoug t
s whatever of worshiping them . The e American children had received the whole through dim tradi
tional rhymes and stories and engaged in passing
o s them on to others with ut any pecial thought . The uncivilized and the unlettered hand down everything
o s s s o by word o f mouth . Religi n , trade , uper titi n ,
s s o s s flow s medicine , en e , and n n en e all in the ame
stream and from this stream all is drunk down with
’ If o o - out question . theref re the Negr s rhyme clus 31 9 NE GRO FOLK RHYME S tering habit in America was the same as it ha d ever been and the centering o f rhymes about animals is du e to o wo s of a f rmer r hip them in Africa , the verses would include not only the animals worshiped
od in m ern Africa but in ancient Africa . The verses would take in animals included in any accepted
African religio n antedating the comparatively recent
o o religi ns f und there .
d o of The Bakuba tribe have a tra iti n their origin .
’
o o . S d s oo 1 1 Qu ting fr m Dr heppar b k again , page 4, “ we have the following : From all the information
r d o I can gathe , they (the Bakuba) migrate fr m the
o oss d s s d on far N rth , cr e river and ettle the high
H is on e d o table land . ere tra iti n , standing as a
i a w E d os w ts d o o . gui e p t , ith h n p inting t ard gypt A one fact premise practically never fo rms a safe basis for o s o w we co s o a c nclu i n , but hen uple thi traditi n w so we kn ow o i ith the fact that , far as , men rig mated in S outhwest Asia an d therefore probably
wa of s s of S came into Africa by y the I thmu uez , I think the case of the Bakuba hand po inting toward
n Now a near Egyptian residence a strong o e. turn
Vol X t E c o . to your n ycl pedia Britannica, , nin h edi
w s o s d o s to tio n , ith American revi i n and a diti n , the “ ” f s 6 . o article on Glas , page 47 Near the bottom
“ the second column on that page we read ' The 320
NEGRO FOLK RH YME S tives to o , the Ph enicians. Without questioning these — o o o s o s we d w time h n red c nclu i n , o kno that Egyp tian ca ravans still make j ourneys into the interior o f
for os of S Africa the purp e trade . hall we think this trading practice on the part o f Egypt in Africa on e of recent origin or probably one that runs back ? through the centuries I see no reason for believ ing this trading custom to be other than an ancient
E s one. If the ancient gyptian traded with the sur ro unding Africans and these Africans gradually mi
i in grated South , as s stated the Bakuba tradition , the whole matter of how all kinds of animals got mixed into Negro Folk Rhymes by custom becomes
x h ow clear . It also will e plain animal worship got
for o scatter ed throughout Africa , it is the unbr ken 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 attain
s ss a o ow ment . The religiou emi aries gener lly f ll
s along in the wake of the trader . If we make the
o o o assumption , on the f reg ing gr unds, that the very ancient African Negro got in to uch with the r e
E of ligio n of Ancient gypt , then the appearance the
for o . o x fr g, birds , etc , in Negr Rhyme is e plained , if we read the lists of animal gods of Ancient Egypt and the animal states thro ugh which spirits were 32 2 NE GRO FOLK RHYMES
o to supp sed pass, we have n o trouble finding the list of x o o animals e t lled in Negr rhyme and story .
If Negro Rhyme h as always centered about Ne
ro o w g religi n , then hen the Negro was brought to i America and began changing h s religion , he should have had some songs or rhymes on the dividing line
w old an d n ew o bet een the the . In ther words, there “ " ought to be connecting links between secular Folk
So so Rhymes and Jubilee ngs, ngs that by nature par
o s take of b th type . 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 pro cedure under Mendel s law of mating like descendants from a cross between two and by eliminating those who do not reproduce w w constant to the type hich e are trying to produce, we can produce a new and constant type in the third
o of s s succeeding generati n de cendant . Now the Negro slave turned quickly in America
from heathenism to Christianity. This was aecom plished through white Christians correcting and eliminating all thoughts and productions which hovered on the border line between heathen ideals
s roce and Christianity . They u ed the Mendelian p
dure of eliminating all crosses that did not give a product with Christian ch aracteristics and thus nec 32 3 NE GRO FOLK RHYM E S essar ily eliminated Rhymes or songs of the connect i o o ob ng link type . They did a good th r ugh j 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 ” oo n wo s w l b - -b p r i ch rm , Je us il come y and y, the
“ other is G o chain the lion down before the Heaven ” o s d or close . The reader will recall that I have already shown that the worm and the lion were co nnected with na
s we k w tive African worship . Of cour e all no quite “ w ” i “ w ” well that a Caddis orm s not an Inch orm , but for a man t rying to turn from the old to the new o o to os o , fr m id latry Christianity , a cl er relati n than this might not be very comfortable neutral
o d gr un .
The following Folk Rhymes found in ou r collee “ tion might also pass for connecting links : Jaw
” “ ” “ O How to to bone , utrunning the Devil , Get
” “ ” “ Ar k s s o f oo Glory Land , The , De tinie G d and
“ How to r B a d Children Keep o Kill the Devil ,
“ “
o h s . Rati n Day , and W en My Wife Die The superstitions o f 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 32 4
NE GRO FOLK RHYME S
f s w o s s w as a kind o choru , hile the ther tanza ere ” used as song verses I therefore think this is
s s w o probably true in all ca e . The reader ill n te that
s the long stan z a is written first in many cases . Thi is because the Negro habituall y begins his song with
w is s o os to cu s the Chorus , hich j u t the pp ite the tom of the Caucasian who begins his o rdinary songs
to oss with the verse . This appears then be the p ible genesis of stanzas o f unequal length .
w s s on u se o I have ritten thi little treati e the , rigin , and evolution of the Negro Rhyme with much hesi
i d to o s ta t on . I finally ecided do it nly becau e I thought a truthful statement o f fact concerning
Negro Folk Rhymes might prove a help to those wh o are expert investigators in the field o f literature and who are in search of the origin of all Folk literature
o and finally of all literature . The Negr being the last to co me to the bright light of civilization h as given or probably will give the last crop of Folk
H o s s s Rhymes . uman pr ces e being largely the ame ,
I hope that my little personal knowledge of the
Negro Rhymes may help o thers 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 w may in no ay hinder . 326 G ENE RAL INDEX
PART 1
a a ma a h Al b W y, T e Anchor Li ne Anima l Atti re Ani ma l Fa i r Anima l Per secutors A nte-b ell um C ou r tship In qu i ry Ante-b ell u m M a r r i a ge Proposa l Ar e Y ou C a refu l
Ark, T h e As I Wen t to S hi l oh A spi ra ti on Au nt Di nah Dr u nk A unt J emima Awfu l H a rbi nger s
B a a ! B a a ! Bl a ck S heep B a by Wa nts Cher ri es B a d Fea tu res n i ki n T h e B a j o P c g, B a t ! B a t ! B ed -bug ' u a r r Bi tter Lover s Q el , A Bl ack- eyed Pea s For Lu ck Bl essi ngs Bli ndfold Pl a y Cha nt ’ B ob -Whi te s S ong B ought M e a Wi fe B r a g a nd B oa st 32 7 GENE RAL INDE X
B r i d l e up a Ra t B r i ng on you r Hot C orn B rother B en a nd S i ster S a l B uck a nd B erry B uck-eyed Ra bbi t ! Whoopee ! ud e B g t, A B u ll Fr og P u t on th e S old i er Cl othes B u tterfly
C a pta i n C oon C a pta i n Dime C a r e i n B r ea d -ma ki ng C a u ght by th e Wi tch Pl a y Chi cken i n th e B r ea d T r a y Chicken P i e ’ Chi ld r en s S ea ti ng Rhyme Chri s tma s T u rkey ’ Chuck Wi ll s Wi d ow S ong a nd es i ne Le er Cl t tt , A ’ C of ee G rows on Whi te Fo lks T r ees T h o e e Ox e . C ll g , Cooki n—g Di nn er Cotton eyed Joe ou r i n B o T h e C t g y, Cou r tship C o Need s a T a i i n Fl - i me T h e w l y t , C r ooked Nose J a n e C r os si ng 3 Footl og C ros si ng th e River
’ a ni n s Day s H ppe g , A Deed le Dumpli ng Devi l i sh Pig s Desti ni es of G ood a nd B a d Chi l dren Desti tu te Former S l a ve Own er s Di d Y ou Feed My Cow ? Di e i n th e P i g P en Fighti ng ’ Di n a h s Di nner H or n Do I Love Y ou ? 32 8
GENE RAL INDEX
0
G reen Oa k T ree ! Rocky -o ! G u i nea G a ll
H a lf-way Doi ng s H a m B ea ts a ll M ea t H a rvest S ong i r d a nd row T h e H a ted Bl a ckb C , Ha wk a nd H a wk a nd Chi ckens Pl ay H a wk a nd B uzza rd r He Is My Ho se . H e Loves S uga r a nd T ea He P a id Me S even (P a rody) oon H e Wi ll G et Mr . C H ea r sa y Here Comes a Y ou ng M a n Cou r ti ng
Her e I S ta nd . H oe C a ke How to Plea se a Preacher How to Pl a nt a nd C u ltiva te S eed s How to G et to Gl or y La nd H ow to Keep or Ki ll T h e Devi l How to M a ke i t Ra i n
n m T h e . Hu nti g C a p,
I a m n ot G oi ng to Hob o Any More ’ I Am a Rou nd T own G en tl eman I Love S omebo dy
I Wa lked th e Roa d s . I Went down th e Ro a d I Wi sh I Wa s a n Appl e I Wou l d not M a r ry a Bl a ck Gi r l I Wou ld not M a r ry A Yell ow Or A Whi te Negro Gi r l ’ Id ra ther B e a Neg r o tha n a Poor Whi te M a n If Y ou Frown ’ ’ Ill E a t When Im Hungry ’ Ill G et Y ou a i , R bb t ’ Ill Wea r Me a Cotton 330 GENE RAL INDE X
In a M u lberry T ree
In a Ru sh . In S eventy-six Ind epend ent Indi a n Fl ea ’ In vi ted to T a ke th e E scor t s Arm It Is H a r d to Love
J a ck a nd Di n a h Wa n t Fr eed om J a ckson P ut th e Kettl e On J a wbone J aybi r d J aybi r d Di ed wi th th e Whoopi ng C ough Joe a n d M a li n d a J a ne J ohn Henry Johnny B ig -foot ’ J on ah s B a nd P a r ty J u dge B u zzard J ub a J ump Ji m Crow
Kept B usy Ki ssi ng S ong Kneel on T hi s C a rpet
La s f a k T h t o J c , e Lea rn to C oun t “ ’ ” Let s M a rry Cou rtship Li kes a nd Di s likes ’ Li ttle B oy Wh o Cou ld n t C ou nt S even Li ttl e Dogs Li N o T h e ttl e egr Fly, Li e i ckani nn ttl P y, A L i ttl e Red Hen . . Li o r T h ttl e R oste , e ’ Li e S i s e Won Y ou a r r M e ? ttl t r, t M y Li ttl e S leepi ng Negroes Looki ng for a Fight GENE RAL INDEX
Love Is J u st a T hi ng of Fa ncy ’ Lover s G ood night
’ M a mma s Da r li ng M a n of Wor d s , A M a ster i s S ix Feet One Way M a ster Ki ll ed a B ig B u ll ’ “ ” a s er s S o en oa T h M t t l C t, e Me a nd my Lover Mi ss Bl od g et Mi ss S li ppy S l oppy Mi ss T er r a pi n a n d Mi ss T oa d M olly Co ttont a i l M other S a ys I a m Si x Y ea r s Old Mou 1 n i ng S l a ve Fi a ncees Mu d log Pond ’ u e Ki k h M l s c , T e u e M l , My ’ M u l e s Na tu r e T h e My B a by Do u f My g, C f My Fi d d l e My Fi r s t a nd my S econd Wi fe My Fo lks a n d you r Fo lks My Li ttl e P i g My S p eckl ed Hen My Wond er fu l T r a vel Myster ious Fa ce-wa shi ng
Na i La di es T h e . shv ll e , o a n th o i ema n T h e Negr d e P l c , Negro B a ker Ma n Negroes Never Di e ’ Neg r o S ol di er s Civi l Wa r Cha nt Nesti ng “ ” ed s T h e Newly W , Nob ody Looki ng No Room to Poke Fun 332
GE NE RAL INDE X
Ra nd some T a ntsome a sca T h e R l, Ra ti on Day Ra ttl er Ra w H ea d a nd Bl oody B ones Red -hea d Woodpecker Rej ected by E li za J a ne to e Request S ll, A Roses Red
S a lli e S a m Is a Cl ever Fellow a La di es S a i l Aw y, ! S a lt-ri si ng B rea d S a ta n S elf-contr ol S ex La ugh S h a ke th e Per si mmons Down a n oa S heep d G t .
S heep S hell C orn . S h e Hu gged Me a nd Ki ssed Me S hoo ! S hoo ! S r L r ho t ette , A S i i e ck W f , A ’ S i mon S li ck s M u l e S l a ve M a r r i a ge C er emony S uppl emen t ’ n i e T h S a l s R ply, e S ong to th e Runa wa y S l a ve S p a r ki ng or Cou rti ng S p ea k S oftly S a nd a ck a ck M a n t B , Bl
S tea li ng a Ri d e . —- - S ti ck a ma stew S ti ll Wa ter Ru ns Deep S ti ll Wa ter C r eek a n e r ood S tr g B , A i S r a n a m . t ge F ly, A S r a n Ol oma n t ge d W , A . GENERAL INDE X
S trong H a nd s S ug a r Lo a f T ea S UE“ i n COEee S uze Ann S usa n J a ne S usi e Gi r l Sweet Pi nks a n d Ros es T ai ls T a ki ng a Wa lk T eachi ng T a bl e M a nner s T empera nce Rhyme T hat Hypocri te “ ” T hey S tea l G o ssi p t T hi s S u n i s Ho . a e T h e T hri fty S l v , on e T h e T gu , T oo Much Wa termel on T o Wi n a Y ell ow Gi r l n i r d a nd th e o n i r d T h e T ow B C u try B , T r a i ni ng th e B oy T ree Frogs (G u i nea or Ebo Rhyme ) ner a T u rkey Fu l , A T -U -T ur key ’ on T h e T urtl e s S g, T wo S i ck Negro B oys T wo T i mes One
Uncl e J erry Fa u ts Uncl e Ned
Vi ni e
k icken wi o H ea d ecked Wa lk, T al , Ch th y ur P Wa k T om Wi son l , l Wa nted : Cor nb r ea d a n d C oon T h e Wa r i s On , ’ Wa shi ng M a mma s Di shes Wa termel on Preferr ed ’ We ll S tick to th e H oe ’ “ ” We re All th e G 0 335 GENE RAL INDE X
Wh a t Wi ll We Do f or B a con ? When I G o to M a rry When I Wa s a Rou sta bou t When I Wa s a Li ttl e B oy When My Wi fe Di es Why Look a t M e ? ’ Why th e Woodpecker s Hea d Is Red Wi ld Hog H u n t Wi l d Negro Bi ll Wi lli e Wee
‘Vooi ng
Yea r of J ubi l ee Y ou H a d B ette r M i nd M a ster Y ou H a ve M a d e Me Weep Y ou Lov e you r Young M a ster a nd Old M a ster FORE IGN SE CT ION INDEX Afr i ca n Rhymes Bya nswah n-By a nswa h n Nea r Wa l d o T eed o o ma h na h mej a i S ai B odd eoh S u mpu n Komo T he Frogs T h e T u rkey B u zz a rd T h e Owl T ub a Bl a y A P hilippi ne Is la nd Rhyme T ri nid a d Rhymes A T orn Ca t Unbelle M a ri e Cool i e
J a ma i ca Rhyme B uscher G a rd en
Venezu ela n Rhymes “ ” A Wou ld -b e Immig ra nt ’ G a me Contesta nts S ong 336
COMP ARAT IVE S T UDY INDEX
P AGE
Forty-fou r 7 1 Fox a nd G eese 40
G ooseber ry Wi ne 41 Gra y a nd Bl a ck Horses 45
H a m B ea ts All Mea t 67 1 6 He Is my Horse . ' Hoe C ake 49 I a m not G oi ng to Hobo Any More 70 I Love S omebody 5 1 0 I Wen t d own th e Roa d . 5 I Wou l d not M a r ry a Bl a ck Gi r l 56 I Would not M a rry a Y ell ow or a Whi te Negr o Girl 63 I Wou ld r a ther B e a Negro tha n a Poor White Ma n 42
J a ck and Di n a h Wa nt Freedom 2 1 5 J aybi r d 1 4 J a ybi rd Di ed wi th th e Whoopi ng Cough 36
Li ttl e Red Hen 37
Li oos er T h e 2 ttl e R t , 9 M a ster i s S ix Feet One Wa y 40 ’ “ ” r o oa T h Ma ste s S t l en C t, e 62 My Fi dd l e 39 My M u l e 1 9 My Wond erfu l T r a vel 55 Nobody Looki ng 48 N r o a n th o icema n T h e 66 eg d e P l , Off from Ri chmond 1 5 Old G r ay Mi nk 33 ld a T h e O Hen C ckl ed , 50 Old M olly H a r e 22 Old S e i o T h e ct on B ss, 64 Old oma n i n th Hi s T h e W e ll , 54 O os um Hu n An p s t, 2 3 Pl a s ter 60 Promi ses of Freed om 2 5 ’ Poss um u p th e G uru S tump 3 338 COM PARAT IVE S T UDY INDEX
Ra bbi t S oup Ra ccoon a nd Opossum Fight Rati on Day Ra ttl er Run Ni , gger ! Ru n !
S i wa L i a l A y, a d es ! Sha ke th e Persimmons Down S heep S hell Cor n Sheep a nd G oa t i i S ck W fe, A . ’ S imon S li ck s M u l e S ug a r i n Coff ee S u ze Ann
Uncl e Ned
a k T om i son W l , W l Wa nted : Cornbrea d a nd Coon “ ” We Are All th e G o When My Wi fe Di es
Yea r of J u bi l ee
Anima l a nd Na tu r e Lor e
A nima l Atti re Anima l Fa i r Anima l Persecu tors Awfu l Har bi ngers
’ B ob-White s S ong Bri d l e Up a Rat Buck a nd B erry B uck-eyed Rabbi t ! Whoopee !
’ Chuck Wi ll s Wi d ow S ong
Fr og i n a Frog Went a -C our ti ng
Full Pocketb ook, A
’ G reat Owl s S ong 339 COMP ARAT IVE S T UDY INDEX
J aybi rd J u dge B uzza rd
a h e La st of J ck, T Li ttl e Dogs
f o d s Ma n o W r , A Mi ss T err a pi n a nd Mi ss T oa d o u My D g, C ff . My Speckl ed H en Molly Cottonta i l
Old Molly H a re of h S na ke T h e Ori gi n t e ,
’ e T h e S na i l s R ply, a n ood S tr ge Br , A
T ai ls nd th e ou n i d T h T own B ird a C try B r , e ’ on h e T urtl e s S g , T
’ Why th e Woodpecker s Hea d i s Red
Nu rs ery Rhymes
a a ma a T h e Al b W y, A nima l Fa ir Are Y ou C a r efu l ? A spi r a ti on Awfu l Ha rbi ngers
B a by Wa nts Cher r i es B a t ! B a t ! Bl ack-eyed Pea s for Luck Bl essi ng s ’ Bob-Whi te s S ong Bri d le Up a Ra t B uck-eyed Ra bbi t ! Whoopee ! B u tterfly C a pta i n Coon ’ Chi ldren s S ea ti ng Rhyme 340
COMPARAT IVE S TUDY INDEX
Mi ss T err a pi n a nd Mi ss T oa d M other S ays I a m S i x Yea rs Old Mud log Pond NLy B a by M o u y D g, C ff My Folks a nd your Folks My Littl e P i g My Sp eckl ed Hen Mysteri ou s Fa ce-wa shi ng
Nesti ng Negro B a ker M a n
Old A unt Ka te O i i n of th e S n a ke T h e r g ,
P ayi ng Debts with Ki cks Periwi nkle P ig -ta i l ’ Possum up th e G um S tu mp Pr etty Li ttl e Gi r l r a i r of ickens P etty P Ch , A
Ra bbi t H a sh Ra bbi t S oup ’ - S a r r me Ra ce t te s Rhy , A Ra nd some T a ntsome Ra w H ea d a nd Bl oody Bon es Redhea d Woodpecker
S a m i s a Cl ever Fell ow S hoo ! S hoo ! S tea li ng a Ri d e S ti ck- a -ma -stew a n a mi S tr ge F ly, A a n l oma n S tr ge O d W , A S trong H a nd s
T a i ls T a ki ng a Wa lk T eachi ng T a bl e Ma nner s ’ T u e s S on T h e rtl g, 342 COMP ARAT IVE S TUDY INDE X
T oo Much Wa ter mel on T r a i ni ng th e B oy T r ee Fr og s T wo S i ck Neg r o B oys
’ Wa shi n g M a mma s Di shes Wh a t Wi ll We Do f o r B a con ? Wi lli e Wee Wi ld Hog H unt
Y ou H a d B etter Mi nd M a ster Young M a s ter a nd Old M a ster
Cha r ms a nd S uper sti ti ons B a t ! B a t ! Black- eyed Pea s for Luck ’ Don t S i ng before B r eakfa st
H ow to Ma ke i t Ra i n . i J ayb rd .
My S peckl ed H en “ M o on a i o r r a e a r d a i o lly C tt t l , G v y R bb t Periwi nkl e Speak S oftly
H u nti ng S ong s Fox a nd G eese i t oon He w ll G e Mr . C Hu n i n a m T h e t g C p, Mi ss S lippy S l oppy n An Opossum Hu t, Ra ttl er
Dri nki ng S ongs Aunt Di n a h Drunk Bri ng on you r H ot C orn Li ttl e Red H en
Wis e a nd G nomi c S ayi ng s
Br a g a nd B oa st . ’ Don t T ell All Y ou Know 343 COM PARAT IVE S TUDY INDE X
Dri nki ng Ra zor S oup Fed from th e T r ee of Knowl edge How to Pl a nt a nd C u ltiv a te S eed s In d epend ent Lea rn to C ou nt M a n of Wo d s r , A Old M a n Know- a ll S elf-control S pea k S oftly S ti ll Wa ter Run s Deep T empera nce Rhyme T ha t Hypocr i te
T ong ue, T h e Wa r i s On T h e ,
H a rv es t S ongs H a rvest S ong
B ibli ca l a nd Relig i ous T h emes
Ar k T h e , How to Keep or Ki ll th e Devi l J a wbone ’ J on a h s B a nd S a t a n
P la y S ongs
u d e B g t, A A nchor Li ne Di d Y ou Feed my Cow ? Down i n th e Lonesome G a r d en : Green Oa k T r ee ! Rocky-o i H a wk a nd B uzza r d H e Loves S uga r a nd T ea Her e Comes a Young M a n C ou r ti ng Ki ssi ng S ong Kneel on T hi s C a rpet Li kes a nd Di s likes ’ i r on Y ou a r Me ? Li tt l e S ste , W t M ry n a s T h e Old Bl ack G t , 344
COMPARAT IVE S T UDY INDEX
i n a s er F e Pl t , A Fox a nd G eese Pl ay Fox a nd Ra bbit Dri nki ng Proposi ti on Fr ightened Away from a Chi cken Roost
G oi ng to be G ood S l a ves ood i G bye, W fe G oosi e G a nd er Pl ay Rhyme
H a lf-wa y Doi ngs Ha wk a nd Chi ckens Pl ay H e P a id Me S even (P a rody) Hea r say How to G et to Glory La nd How to Pl ea se a Pr eacher
If Y ou Frown . ’ ’ Ill E a t when Im Hungry ’ ll Y ou a i . I G et , R bb t ’ Ill Wea r Me a Cotton Dr ess ’ I Am a Round T own G entl ema n Indi a n Fl ea ’ Invi ted to T a ke th e E scor t s Ar m I Wa lked th e Roa d
Joe a nd M a li nd a J a ne J ohn Henry J ohnny B ig-foot J ub a
‘ Jump Ji m C row
Kept B usy
’ Let s M a rry Cou r tship Looki ng f or a Fight Love i s J ust a T hi ng of Fa ncy
’ u e s ick T h e M l K , . ’ Na u r e T h e Mu l e s t ,
Negroes Never Di e ’ Negro S oldi er s Civi l Wa r Chan t 346 COMP ARAT IVE S T UDY INDE X
” New Wed s ly , T h e No Room to Poke Fun
On T op of th e P ot Ou r Old M u l e Outr u nni ng th e Devi l
’ P a g e s —G eese P a rody He P a i d M e S even “ Parody on Now I La y M e Down to S l eep ” a od on ei n a s P r y R g , M ter J esu s ! Rei g n ! P r esenti ng a H a t to Phoebe Pretty Li tt l e Pi nk
a sc T h e R al , s Reque t to S ell , A
S ex Laugh S or Le e h t tt r, A S l a ve M a rri age C eremony S uppl ement S pa rki ng or Courti ng S a nd ack a ck M a n t B , Bl S ti ll Wa ter Creek
” T hey S tea l G ossip T hi s S un i s H ot a e T h T hri fty S l v , T o Wi n a Y ell ow Gi r l T u rkey Funera l T - U -T urkey T wo T i mes One
Uncl e J erry Fa u ts
T a k icken Wi ou r H ea d ecked Wa lk, l , Ch th y P ’ We ll S ti ck to th e Hoe When I G o to M a rry When I Wa s a Rou sta bou t Why Look a t Me ? Wi ld Neg ro Bi ll
Wi nd B a g, A
347