Jamaican Song and Story Part 60

Lx.x.xIX.

First, as giving its name to the whole, must stand:--

[Music:

Little Sally Water sprinkle in the saucer; Rise, Sally, rise an' wipe your weeping eyes.

Sally turn to the East, Sally turn to the West, Sally turn to the very one you like the best.

On the carpet you must be happy as the gra.s.s-bird on the tree, Rise an' stand up on your leg an' choose the one that you like the best.

Now you married I give you joy, first a gal an' second a boy; Seven year after, seven year to come, give her a kiss an' send her out.]

The boys and girls join hands and form a ring. One--the s.e.x is immaterial--crouches in the middle and personates Sally Water. At the words "Rise, Sally, rise," he or she slowly rises to an erect position, brushing away imaginary tears, turns first one way and then another, and chooses a partner out of the ring. Where the _tempo_ changes, they wheel--a rapid turning dance--and after the wheeling, the partner is left inside the ring and becomes Sally Water.[51]

[Footnote 51: For a discussion of this game, perhaps the best-known and most widely-spread of all English singing games, see A.B. Gomme, _Traditional Games_, vol. ii., p. 149.]

XC.

Another form of this Ring tune is:--

[Music:

Poor little Zeddy they put him in the corner!

Rise, Zeddy, rise an' wipe your weeping eyes; Zeddy, turn to the East; Zeddy, turn to the West; Zeddy, turn to the very one you like the best.]

XCI.

The negro is a born actor, and to give emphasis to his words by appropriate gestures comes naturally to him. The little comedy which follows suits him to perfection:--

[Music:

Wh me lover d?

Seemya, seemya.

Me lover gone a sea?

Seemya, seemya.

Me no see me lover ya.

Seemya, seemya.

Him gone a Colon bay.

Seemya, seemya.

Go fin' you lover now.

Seemya, seemya.

No make no 'tupid d.

Seemya, seemya.

Fool dem let dem go.

Seemya, seemya.

Me lover come back.

Seemya, seemya.

Go take you lover now.

Seemya, seemya.

Wheel him make me see.

Seemya, seemya.

Throw a kiss to him.

Seemya, seemya.

Wheel him let him go.

Seemya, seemya.[52]]

[Footnote 52: To avoid the tiresomeness of contraction marks, "see him ya" has been written in one word. It sounds exactly like _senior_ with an m instead of an n.]

A ring is formed, and a girl is put in the middle. She asks:--"Where is my lover?" and the ring answers in chorus:--"See him here." "Has my lover gone to sea?" and the answer comes again:--"See him here." The gal goes on:--"I do not see my lover; has he gone to Colon bay?" and then, as though speaking to herself:--"Go, find your lover now. There!

don't pretend to be stupid." At this point she takes the hand of a boy in the ring as if she were going to dance with him, but immediately pushes him back, and says, still speaking to herself:--"Fool them, let them go." Then simulating contrition and breaking the hitherto even rhythm:--"My lover, come back!" At "Go take your lover now" she goes again to the same boy, takes him out of the ring-circle and dances with him. They _wheel_ at the words "Wheel him make me see," which mean, "Let me see you wheel him." Finally at "Wheel him let him go"

they part hands.

Frequent references will be found to Colon. Jamaica labourers used to go there in large numbers to work on the Panama ca.n.a.l.

XCII.

To the same cla.s.s belongs:--

[Music:

Ring a diamond, ring a diamond, Why oh ring a diamond.

Get in the ring you'll find one Sambo boy.

Why oh ring a diamond.

Me look me da look me no find one Sambo boy.

Why oh ring a diamond.

Me find me diamond, me find me diamond.

Why oh ring a diamond.

Wheel you diamond, wheel you diamond.

Why oh ring a diamond.

Let go diamond, let go diamond.

Why oh ring a diamond.]

This tune has a beautiful swing. In many bars it is almost impossible to distinguish whether the tune is triple or duple. Much license may be allowed in the direction of the latter to a good timist, but the general impression of triple time must be kept. The "Sambo boy" bar must be sung very smoothly. It is neither quite as it is written the first time nor quite as it occurs in the second, but just between the two. Three even crotchets with judicious _tempo rubato_ would give it.