_III a._ The Regular Rhyming Doublet. It is the same as our common interwoven rhyme and is very common among Negro Rhymes. There is one peculiar Interwoven Rhyme found in our collection; it is "Watermelon Preferred." In it the second Rhyming Doublet is divided by a kind of parenthetic Rhythmic Solitaire.

_III b._ The Inverted Rhyming Doublet. It is the same as our ordinary Close Rhyme.

The writer had expected to find the Supplemented Rhyming Doublet among Negro Rhymes but peculiarly enough it does not seem to exist.

_IV a._ The Regular Rhymed Cl.u.s.ter. It consists of three consecutive lines in the same stanza which rhyme. An example is found in "Bridle Up a Rat," one of whose stanzas we have already quoted. It is represented by the lettering

(a (a (a

_IV. b._ The Divided Rhymed Cl.u.s.ter. It includes ordinary Interrupted Rhyme--with the lettering

(a An example is found in the Ebo or (a Guinea Rhyme "Tree Frogs."

(b (a

But in Negro Folk Rhymes two lines may divide the Rhymed Cl.u.s.ter instead of one. An example of this is found in "Animal Fair," whose rhyming may be represented by the lettering

(a (a (b (b (a

_IV c._ The Supplemented Rhymed Cl.u.s.ters. They are well represented in Negro Rhymes. Some have a single supplement as in "Negroes Never Die,"

whose rhyming is lettered

(a (a (a-x

Some have double supplements as in "Frog Went a-Courting" whose rhyming is lettered

(a-x (a (a-x

Now Negroes did not retain, permanently, meaningless words in their Rhymes. The Rhymes themselves were "calls" and had meaning. The "sponses," such as "Holly d.i.n.k," "Jing-Jang," "Oh, fare you well,"

"'Tain't gwineter rain no more," etc., that had no meaning, died year after year and new "sponses" and songs came into existence.

Let us see what these permanently retained seemingly senseless Supplements mean.

In "Frog Went a-Courting" we see the Supplement "uh-huh! uh-huh!" It is placed in the midst to keep vividly before the mind of the listener the ardent singing of the frog in Spring during his courtship season, while we hear a recounting of his adventures. It is to this Simple Rhyme what stage scenery is to the Shakespearian play or the Wagnerian opera. It seems to me (however crude his verse) that the Negro has here suggested something new to the field of poetry. He suggests that, while one recounts a story or what not, he could to advantage use words at the same time having no bearing on the story to depict the surroundings or settings of the production. The gifted Negro poet, Paul Laurence Dunbar, has used the supplement in this way in one of his poems. The poem is called "A Negro Love Song." The little sentence, "Jump back, Honey, jump back," is thrown in, in the midst and at the end of each stanza.

Explaining it, the following is written by a friend, at the heading of this poem:

"During the World's Fair he (Mr. Dunbar) served for a short time as a hotel waiter. When the Negroes were not busy they had a custom of congregating and talking about their sweethearts. Then a man with a tray would come along and, as the dining-room was frequently crowded, he would say when in need of pa.s.sing room, 'Jump back, Honey, jump back.'

Out of the commonplace confidences, he wove the musical little composition--'A Negro Love Song.'"

Now, this line, "Jump back, Honey, jump back," was used by Mr. Dunbar to recall and picture before the mind the scurrying hotel waiter as he bragged to his fellows of his sweetheart and told his tales of adventure. It is the "stage scenery" method used by the slave Negro verse maker. Mr. Dunbar uses this style also in "A Lullaby,"

"Discovered," "Lil' Gal" and "A Plea." Whether he used it knowingly in all cases, or whether he instinctively sang in the measured strains of his benighted ancestors, I do not know.

The Supplement was used in another way in Negro Folk Dance Rhymes. I have already explained how the Rhymes were used in a general way in the Dance. Let us glance at the Dance Rhyme "Juba" with its Supplement, "Juba! Juba!" to ill.u.s.trate this special use of the Supplement. "Juba"

itself was a kind of dance step. Now let us imagine two dancers in a circle of men to be dancing while the following lines are being patted and repeated:

"Juba Circle, raise de latch, Juba dance dat Long Dog Scratch, Juba! Juba!"

While this was being patted and repeated, the dancers within the circle described a circle with raised foot and ended doing a dance step called "Dog Scratch." Then when the Supplement "Juba! Juba!" was said the whole circle of men joined in the dance step "Juba" for a few moments. Then the next stanza would be repeated and patted with the same general order of procedure.

The Supplement, then, in the Dance Rhyme was used as the signal for all to join in the dance for a while at intervals after they had witnessed the finished foot movements of their most skilled dancers.

The Supplement was used in a third way in Negro Rhymes. This is ill.u.s.trated by the Rhyme, "Anchor Line" where the Supplement is "Dinah."

This was a Play Song and was commonly used as such, but the Negro boy often sang such a song to his sweetheart, the Negro father to his child, etc. When such songs were sung on other occasions than the Play, the name of the person to whom it was being sung was often subst.i.tuted for the name Dinah. Thus it would be sung

"I'se gwine out on de Anchor Line--Mary," etc.

The Supplement then seems to have been used in some cases to broaden the scope of direct application of the Rhyme.

The last use of the Supplement to be mentioned is closely related in its nature to the "stage scenery" use already mentioned. This kind of Supplement is used to depict the mental condition or att.i.tude of an individual pa.s.sing through the experiences being related. Good examples are found in "My First and My Second Wife" where we have the Supplements, "Now wusn't I sorrowful in mind," etc.; and in "Stinky Slave Owners" with its Supplements "Eh-Eh!" "Sho-sho!" etc.

The Negro Rhymes here and there also have some kind of little introductory word or line to each stanza. I consider this also something peculiar to Negro Rhyme. I have named these little introductory words or sentences the "Verse Crown." They are receivers into which verses are set and serve as dividing lines in the production. As the reader knows, the portion of the ring which receives the gems and sets them into a harmonious whole is called the "Crown." Having borrowed the terms Solitaire, Doublet, etc., for the verses, the name for these introductory words and lines automatically became "Verse Crown."

Just as I have figuratively termed the Supplements in one place "stage scenery," so I may with equal propriety term the "Verse Crown" the "rise" or the "fall" of the stage curtain. They separate the little Acts of the Rhymes into scenes. As an example read the comic little Rhyme "I Walked the Roads." The word "Well" to the first stanza marks the raising of the curtain and we see the ardent Negro boy lover nonsensically prattling to the one of his fancy about everything in creation until he is so tired that he can scarcely stand erect. The curtain drops and rises with the word "Den." In this, the second scene, he finally gets around to the point where he makes all manner of awkward protestations of love. The hearer of the Rhyme is left laughing, with a sort of satisfactory feeling that possibly he succeeded in his suit and possibly he didn't. Among the many examples of Rhymes where verse crowns serve as curtains to divide the Acts into scenes may be mentioned "I Wish I Was an Apple," "Rejected by Eliza Jane," "Courtship," "Plaster," "The Newly Weds," and "Four Runaway Negroes."

Though the stanzas in Negro Rhymes commonly have just one kind of rhyming, in some cases as many as three of the systems of rhyming are found in one stanza. I venture to suggest the calling of those with one system "Simple Rhymed Stanzas;" those with two, "Complex Rhymed Stanzas;" those with more than two "Complicated Complex Rhymed Stanzas."

I next call attention to the seeming parodies found occasionally among Negro Rhymes. The words of most Negro parodies are such that they are not fit for print. We have recorded three: "He Paid Me Seven," Parody on "Now I Lay Me Down to Sleep," and Parody on "Reign, Master Jesus, Reign." We can best explain the nature of the Negro Parody by taking that beautiful and touching well-known Jubilee song, "Steal Away to Jesus" and briefly recounting the story of its origin. Its history is well known. We hope the reader will not be disappointed when we say that this song is a parody in the sense in which Negroes composed and used parodies.

The words around which the whole song ranges itself are "Steal away to Jesus, I hain't got long to stay here." Now the slave Negroes on the far away plantations of the South occasionally met in the dead of night in some secluded lonely spot for a religious meeting even when they had been forbidden to do so by their masters. So they made up this song, "Steal away to Jesus, I hain't got long to stay here." Late in the afternoons when the slaves on any plantation sang it, it served as a notice to slaves on other plantations that a secret religious meeting was to be held that night at the place formerly mutually agreed upon for meetings.

Now here is where the parody comes in under the Negro standard: To the slave master the words meant that his good, obedient slaves were only studying how to be good and to get along peaceably, because they considered, after all, that their time upon earth was short and not of much consequence; but to the listening Negro it meant both a notification of a meeting and slaves disobedient enough to go where they wanted to go. To the listening master it meant that the Negro was thinking of what a short time it would be before he would die and leave the earth, but to the listening slaves it meant that he was thinking of how short a time it would be before he left the cotton field for a pleasant religious meeting. All these meanings were truly literally present but the meaning apparent depended upon the viewpoint of the listener. It was composed thus, so that if the master suspected the viewpoint of the slave hearers, the other viewpoint, intended for him, might be held out in strong relief.

Now let us consider the parodies recorded in our Collection. The Parody on the beautiful little child prayer, "Now I lay me down to sleep" is but the bitter protest from the heart of the woman who, after putting the little white children piously repeating this child prayer, "Now I lay me down to sleep," in their immaculate beds, herself retired to a vermin infested cabin with no time left for cleaning it. It was a tirade against the oppressor but the comic, good-natured "It means nothing" was there to be held up to those calling the one repeating it to task. The parody on "Reign, Master Jesus, Reign!" when heard by the Master meant only a good natured jocular appeal to him for plenty of meat and bread, but with the Negro it was a scathing indictment of a Christian earthly master who muzzled those who produced the food. "He Paid Me Seven" is a mock at the white man for failing to practice his own religion but the clown mask is there to be held up for safety to any who may see the _real_ side and take offense.

Slave parodies, then, are little Rhymes capable of two distinct interpretations, both of which are true. They were so composed that if a slave were accused through one interpretation, he could and would truthfully point out the other meaning to the accuser and thus escape serious trouble.

Under all the cla.s.ses of Negro Rhymes, with the exception of the one Marriage Ceremony Rhyme, there were those which were sung and played on instruments. Since instrumental music called into existence some of the very best among Negro Rhymes it seems as if a little ought to be said concerning the Negro's instruments. Banjos and fiddles (violins) were owned only limitedly by antebellum Negroes. Those who owned them mastered them to such a degree that the memory of their skill will long linger. These instruments are familiar and need no discussion.

Probably the Negro's most primitive instrument, which he could call his very own, was "Quills." It is mentioned in the story, "Brother Fox, Brother Rabbit, and King Deer's Daughter" which I have already quoted at some length. If the reader will notice in this story he will see, after the singing of the first stanza by the rabbit and fox, a description in these words, "Den de quills and de tr'angle, dey come in, an' den Br'er Rabbit pursue on wid de call." Here we have described in the Negro's own way the long form of instrumental music composition which we have hitherto discussed, and "quills" and "tr'angles" are given as the instruments.

In my early childhood I saw many sets of "Quills." They were short reed pipes, closed at one end, made from cane found in our Southern canebrakes. The reed pipes were made closed at one end by being so cut that the bottom of each was a node of the cane. These pipes were "whittled" square with a jack knife and were then wedged into a wooden frame, and the player blew them with his mouth. The "quills," or reed pipes, were cut of such graduated lengths that they const.i.tuted the Negro's peculiar music Scale. The music intervals though approximating those of the Caucasian scale were not the same. At times, when in a reminiscent humor, I hum to myself some little songs of my childhood. On occasions, afterwards, I have "picked out" some of the same tunes on the piano. When I have done this I have always felt like giving its production on the piano the same greeting that I gave a friend who had once worn a full beard but had shaved. My greeting was "h.e.l.lo, friend A; I came near not knowing you."

"Quills" were made in two sets. They were known as a "Little Set of Quills" and a "Big Set of Quills." There were five reeds in the Little Set but I do not know how many there were in a Big Set. I think there were more than twice as many as in a Little Set. I have inserted a cut of a Little Set of "Quills." (Figure I.) The fact that I was in the cla.s.s of "The Little Boy Who Couldn't Count Seven" when I saw and handled quills makes it necessary to explain how it comes that I am sure of the number of "Quills" in a "Little Set." I recall the intricate tune that could be played only by the performer's putting in the lowest pitched note with his voice. I am herewith presenting that tune, and "blocking out" the voice note there are only five notes left, thus I know there were five "Quills" in the set. I thought a tune played on a "Big Set" might be of interest and so I am giving one of those also. If there be those who would laugh at the crudity of "Quills" it might not be amiss to remember in justice to the inventors that "Quills"

const.i.tute a pipe organ in its most rudimentary form.

[Ill.u.s.tration: Figure I A LITTLE SET OF QUILLS]

TUNE PLAYED ON A LITTLE SET OF QUILLS

[music]

TUNE PLAYED ON A BIG SET OF QUILLS

[music]

The "tr'angle" or triangle mentioned as the other primitive instrument used by the rabbit and fox in serenading King Deer's family was only the U-shaped iron clives which with its pin was used for hitching horses to a plow. The antebellum Negro often suspended this U-shaped clives by a string and beat it with its pin along with the playing on "Quills" much after the order that a drum is beaten. These crude instruments produced music not of unpleasant strain and inspired the production of some of the best Negro Rhymes.

I would next consider for a little the origin of the subject matter found in Negro Rhymes. When the Negro sings "Master Is Six Feet One Way"

or "The Alabama Way" there is no question where the subject matter came from. But when he sings of animals, calling them all "Brother" or "Sister," and "Bought Me a Wife," etc., the origin of the conception and subject matter is not so clear. I now come to the question: From whence came such subject matter?