Negro Folk Rhymes Part 48

First of all, Mr. Joel Chandler Harris, in his introduction to "Nights with Uncle Remus," has shown that the Negro stories of our country have counterparts in the Kaffir Tales of Africa. He therefore leaves strong grounds for inference that the American Negroes probably brought the dim outlines of their Br'er Rabbit stories along with them when they came from Africa. I have already pointed out that some of the Folk Rhymes belong to these Br'er Rabbit stories. Since the origin of the subject matter of one is the origin of the subject matter of the other, it follows that we are reasonably sure of the origin of such Folk Rhymes because of the "counterpart" data presented by Mr. Harris. But I have been fortunate enough recently to secure direct evidence that one of the American Negro stories recorded by Mr. Harris came from Africa.

While collecting our Rhymes, I asked Dr. C. C. Fuller of the South African Mission, at Chikore, Melsetter, Rhodesia, Africa, for an African Rhyme in Chindau. I might add parenthetically: I have never seen pictures of a cruder or more primitive people than these people who speak Chindau. He obtained and sent me the Rhyme "The Turkey Buzzard"

found in our Foreign Section. It was given to him by the Reverend J. E.

Hatch of the South African General Mission. Along with this rhyme came the following in his kind and obliging letter: "We thought the story of how the Crocodile got its scaly skin might be of interest also":

"Why the Crocodile Has a Hard, Scaly Skin."

"Long ago the Crocodile had a soft skin like that of the other animals.

He used to go far from the rivers and catch animals and children and by so doing annoyed the people very much. So one day when he was far away from water, they surrounded him and set the gra.s.s on fire on every side, so that he could not escape to the river without pa.s.sing through the fire. The fire overtook him and scorched and seared his back, so that from that day his skin has been hard and scaly, and he no longer goes far from the rivers."

This is about as literal an outline of the American Negro story "Why the Alligator's Back is Rough" as one could have. The slight difference is that the direct African version mixes people in with the plot. This along with Mr. Harris's evidences practically establishes the fact that the Negro animal story outlines came with the Negroes themselves from Africa and would also render it practically certain that many animal rhymes came in the same way since these Rhymes in many cases accompany the stories.

Then there are Rhymes, not animal Rhymes, which seem to carry plainly in their thought content a probable African origin. In the Rhyme, "Bought Me a Wife," there is not only the mentioning of buying a wife, but there is the setting forth of feeding her along with guineas, chickens, etc., out under a tree. Such a conception does not fit in with American slave life but does fit into widely prevailing conditions found in Africa.

Read the last stanza of "Ration Day," where the slave sings of going after death to a land where there are trees that bear fritters and where there are ponds of honey. Surely there is nothing in America to suggest such thoughts, but such thoughts might have come from Africa where natives gather their fruit from the bread tree and dip it into honey gathered from the forests.

Read "When My Wife Dies." This is a Dance Rhyme Song. When the Rhymer chants in seemingly light vein in our hearing that he will simply get another wife when his wife dies, we turn away our faces in disgust, but we turn back almost amazed when he announces in the immediately succeeding lines that his heart will sorrow when she is gone because none better has been created among women. The dance goes on and we almost see grim Death himself smile as the Rhymer closes his Dance Song with directions not to bury him deep, and to put bread in his hand and mola.s.ses at his feet that he may eat on the way to the "Promised Land."

If you had asked a Negro boy in the days gone by what this Dance Rhyme Song meant, he would have told you that he didn't know, that it was simply an old song he had picked up from somewhere. Thus he would go right along thoughtlessly singing or repeating and pa.s.sing the Rhyme to others. The dancing over the dead and the song which accompanied it certainly had no place in American life. But do you ask where there was such a place? Get Dr. William H. Sheppard's "Presbyterian Pioneers in Congo" and read on page 136 the author's description of the behavior of the Africans in Lukenga's Land on the day following the death of one of their fellow tribesmen. It reads in part as follows: "The next day friends from neighboring villages joined with these and in their best clothes danced all day. These dances are to cheer up the bereaved family and to run away evil spirits." Dr. Sheppard also tells us that in one of the tribes in Africa where he labored, a kind of funnel was pushed down into the grave and down this funnel food was dropped for the deceased to feed upon. I have heard from other missionaries to other parts of Africa similar accounts. The minute you suppose the Rhyme "When My Wife Dies"

to have had its origin in Africa, the whole thought content is explained. Of course the stanza concerning the pickling of the bones in alcohol is probably of American origin but I doubt not that the thought of the "key verses" came from Africa.

These Rhymes whose thought content I have just discussed I consider only ill.u.s.trative of the many Rhymes whose thought drift came from Africa.

Many of the Folk Rhymes fall under the heading commonly denominated "Nature Rhymes." By actual count more than a hundred and fifty recorded by the writer have something in their stanzas concerning some animal. I do not think the makers of these Rhymes were makers of Nature Rhymes in the ordinary sense of the term. It would really be more to the point to call them "Animal Rhymes" instead of "Nature Rhymes." With the exception of about a half dozen Rhymes which mention some kind of tree or plant, all the other Rhymes with Nature allusions pertain to animals. The Uncle Remus stories recorded by Joel Chandler Harris are practically all animal stories. I have said in my foregoing discussion that the Negro communed with Nature and she gave him Rhymes for amus.e.m.e.nt. This is true, but when we say "communed" we simply express a vague intangible something the existence of which lives somewhere in a kind of mental fiction.

Though I was brought up with the Rhymes I make no pretensions that I really know why so many of them were made concerning the animal world. I have heard no Negro tradition on this point. I have thought much on it and I now beg the reader to walk with me over the peculiar paths along which my mind has swept in its search for the truth of this mystery of Animal Rhyme.

Before the great American Civil War the Negro slave preachers could not, as a cla.s.s, read and they were taught their Bible texts by white men, commonly their owners. The texts taught them embraced most of the central truths of our Bible. The subjects upon which the antebellum Negro preached, however, were comparatively few. Of course a very few antebellum Negro preachers could read. In case of these individuals their texts and subjects were scarcely limited by the "lids" of the Bible. I heard scores of these men preach in my childhood days.

The following subjects embrace about all those known to the average of these slave preachers. 1. Joshua. 2. Samson. 3. The Ark. 4. Jacob. 5.

Pharaoh and Moses. 6. Daniel. 7. Ezekiel--vision of the valley of dry bones. 8. Judgment Day. 9. Paul and Silas in jail. 10. Peter. 11. John's vision on the Isle of Patmos. 12. Jesus Christ--his love and his miracles. 13. "Servants, obey your Masters."

Now it is strange enough that the ignorant slave, while adopting his Master's religious topics, refused to adopt his hymns and proceeded to make his own songs and to cl.u.s.ter all these songs in thought around the Bible subjects with which he was acquainted. If the reader will get nearly any copy of Jubilee Songs he will find that the larger number group themselves about Jesus Christ and the others cl.u.s.ter about Moses, Daniel, Judgment Day, etc., subjects partially known and handled by the preachers in their sermons. There is just one exception. There is no Jubilee Song on "Servants, obey your Masters." We shall leave for the "feeble" imagination of the reader the reason why. The Negroes practically left out of their Jubilee Songs, Jeremiah, Job, Abraham, Isaac, Solomon, Samuel, Ezra, Mark, Luke, John, James, The Psalms, The Proverbs, etc., simply because these subjects did not fall among those taught them as preaching subjects.

Now let us consider for a while the Negro's religion in Africa. Turning to Bettanny's "The World's Religions" we learn the following facts about aboriginal African worship.

The Bushmen worshiped a Caddis worm and an antelope (a species of deer).

The Damaras believed that they and all living creatures descended from a kind of tree and they worshiped that tree. The Mulungu worshiped alligators and lion-shaped idols. The Fantis considered snakes and many other animals messengers of spirits. The Dahomans worshiped snakes, a silk tree, a poison tree and a kind of ocean G.o.d whom they called Hu.

Now turning our attention to Negro Folk Rhymes we find them cl.u.s.tering around the animals of aboriginal African Folk worship. The Negro stories recorded by Mr. Harris center around these animals also. In the Folk Rhyme "Walk Tom Wilson" our hero steps on an alligator. In "The Ark" the lion almost breaks out of his enclosure of palings. In one rhyme the snake is described as descended from the Devil and then the Devil figures prominently in many Rhymes. Then we have "Green Oak Tree Rocky-o" answering to the tree worship.

I have placed in our collection of Rhymes a small foreign section including African Rhymes. I have recorded precious few but those few are enough to show two things. (1) That the Negro of savage Africa has the rhyme-making habit and probably has always had it, and thus the American Negro brought this habit with him to America. (2) That a small handful from darkest Africa contains stanzas on the owl, the frog, and the turkey buzzard just like the American rhymes.

Knowing that the Negro made rhymes in Africa, and knowing that he centered his Jubilee Song words around his American Christian religion, is it not reasonable to suppose that he centered his secular or African Rhymes around his African religion? He must have done so unless he changed all his rhyme-making habits after coming to America, for he certainly cl.u.s.tered his American verse largely around his religion.

a.s.suming this to be true the large amount of animal lore in Negro rhyme and story is at once explained.

Possibly the greatest hindrance to one's coming to this conclusion is the fact that the Rabbit and some other animals found in Negro rhyme and story do not appear in the records among those worshiped by aboriginal Africans. The known record of the Africans' early religion covers only a very few pages. Christians have not been willing to spend any time to speak of in investigating the religions of the primitive and the lowly.

Thus if these animals were widely worshiped it would not be strange if we should never have heard of it. Let us consider what is known, however.

Taking up the matter of the rabbit Mr. John McBride, Jr., had a very fine and lengthy discussion on "Br'er Rabbit in the Folk Tales of the Negro and other Races" in _The Sewanee Review_, April, 1911. On page 201 of that journal's issue we find these words: "Among the Hottentots, for example, there is a story in which the hare appears in the moon and of which several versions are extant. The story goes that the moon sent the hare to the earth to inform men that, as she died away and rose again, so should all men die and again come to life," etc. I drop the story here because so much of it suffices my purpose. It brings out the fact that the African here had probably truly considered the Rabbit as a messenger of the moon. Now the fact that the Hottentots were thus talking in lore of receiving 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 super-being, a kind of G.o.d.

I quote again from Dr. Sheppard's "Presbyterian Pioneers in Congo," page 113. "King Lukenga offers up a sacrifice of a goat or lamb on every new moon. The blood is sprinkled on a large idol in his own fetich house, in the presence of all his counselors. This sacrifice is for the healthfulness of all the King's country, for the crops," etc.

I think after considering the foregoing one will see that there are those of Africa who connect their worship with the moon. We learn also that there are those who claim the rabbit to be the moon's messenger.

From this, if we should accept the theory for Animal Rhymes advanced, we would easily see why the rabbit as a messenger of a G.o.d or G.o.ds would figure so largely in Rhyme and in story. We also would easily see how and why as a messenger of a G.o.d he would become "Brother Rabbit." If one will read the little Rhyme "Jaybird" he will notice that the rhymer places the intelligence of the rabbit above his own. Our theory accounts for this.

I would next consider the frog, but I imagine I hear the reader saying: "That is not a beginning. How about your bear, terrapin, wolf, squirrel, etc.?"

Seeing that I am faced by so large an array of animals, I beg the reader to walk with me through just one more little path of thought and with his consent I shall leave the matter there.

We see, in two of our African Rhymes, lines on a buzzard and an owl; yet these African natives do not worship these birds. The American Negro children of my childhood repeated Folk Rhymes concerning the rabbit, the fox, etc., without any thought whatever of worshiping them. These American children had received the whole through dim traditional rhymes and stories and engaged in pa.s.sing them on to others without any special thought. The uncivilized and the unlettered hand down everything by word of mouth. Religion, trades, superst.i.tion, medicine, sense, and nonsense all flow in the same stream and from this stream all is drunk down without question. If therefore the Negro's rhyme-cl.u.s.tering habit in America was the same as it had ever been and the centering of rhymes about animals is due to a former worship of them in Africa, the verses would include not only the animals worshiped in modern Africa but in ancient Africa. The verses would take in animals included in any accepted African religion antedating the comparatively recent religions found there.

The Bakuba tribe have a tradition of their origin. Quoting from Dr.

Sheppard's book again, page 114, we have the following: "From all the information I can gather, they (the Bakuba) migrated from the far North, crossed rivers and settled on the high table land." Here is one tradition, standing as a guide post, with its hand pointing toward Egypt. A one fact premise practically never forms a safe basis for a conclusion, but when we couple this tradition with the fact that, so far as we know, men originated in Southwest Asia and therefore probably came into Africa by way of the Isthmus of Suez, I think the case of the Bakuba hand pointing toward a near Egyptian residence a strong one. Now turn to your Encyclopedia Britannica, Vol. X, ninth edition, with American revisions and additions, to the article on "Gla.s.s," page 647.

Near the bottom of the second column on that page we read: "The Phoenicians probably derived this knowledge of the art (of gla.s.s making) from Egypt. * * * It seems probable that the earliest products of the industry of Phoenicia in the art of gla.s.s making are the colored beads which have been found in almost all parts of Europe, in India, and other parts of Asia, and in _Africa_. The "aggry" beads so much valued by the _Ashantees and other natives_ of that part of Africa which lies near the Gold Coast, have _probably_ the same origin. * * * Their wide dispersion may be referred with much probability to their having been objects of barter between the Phoenician merchants and the barbarous inhabitants of the various countries with which they traded." Here are evidences, then, that the African in his prehistoric days traded with somebody who bartered in beads of Phoenician or Egyptian make. I say Egyptian or Phoenician because if the Phoenicians got this art from the Egyptians I think it would be very difficult for those who lived thousands of years afterward to be sure in which country a specific bead was made, the art as practiced by one country being a kind of copy of the art as practiced in the other country. With the historic record that the Phoenicians were the great traders of the Ancient World our writers attributed the carrying of the beads into Africa, among the natives, to the Phoenicians. Without questioning these time-honored conclusions, we do know that Egyptian caravans still make journeys into the interior of Africa for the purpose of trade. Shall we think this trading practice on the part of Egypt in Africa one of recent origin or probably one that runs back through the centuries? I see no reason for believing this trading custom to be other than an ancient one. If the ancient Egyptians traded with the surrounding Africans and these Africans gradually migrated South, as is stated in the Bakuba tradition, the whole matter of how all kinds of animals got mixed into Negro Folk Rhymes by custom becomes clear. It also will explain how animal worship got scattered throughout Africa, for it is the unbroken 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 attainment. The religious emissaries generally follow along in the wake of the traders. If we make the a.s.sumption, on the foregoing grounds, that the very ancient African Negro got in touch with the religion of Ancient Egypt, then the appearance of the frog, birds, etc., in Negro Rhyme is explained, for if we read the lists of animal G.o.ds of Ancient Egypt and the animal states through which spirits were supposed to pa.s.s, we have no trouble finding the list of animals extolled in Negro rhyme and story.

If Negro Rhyme has always centered about Negro religion, then when the Negro was brought to America and began changing his religion, he should have had some songs or rhymes on the dividing line between the old and the new. In other words, there ought to be connecting links between "secular" Folk Rhymes and Jubilee Songs, songs that by nature partake of both types. 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 procedure under Mendel's law of mating like descendants from a cross between two and by eliminating those who do not reproduce constant to the type which we are trying to produce, we can produce a new and constant type in the third succeeding generation of descendants.

Now the Negro slave turned quickly in America from heathenism to Christianity. This was accomplished through white Christians correcting and eliminating all thoughts and productions which hovered on the border line between heathen ideals and Christianity. They used the Mendelian procedure of eliminating all crosses that did not give a product with Christian characteristics and thus necessarily eliminated Rhymes or songs of the connecting link type. They did a good thorough job 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 poor inch worm, Jesus will come by-and-by," the other is "Go chain the lion down before the Heaven doors close."

The reader will recall that I have already shown that the worm and the lion were connected with native African worship. Of course we all know quite well that a "Caddis worm" is not an "Inch worm," but for a man trying to turn from the old to the new, from idolatry to Christianity, a closer relation than this might not be very comfortable neutral ground.

The following Folk Rhymes found in our collection might also pa.s.s for connecting links: "Jawbone," "Outrunning the Devil," "How to Get to Glory Land," "The Ark," "Destinies of Good and Bad Children," "How to Keep or Kill the Devil," "Ration Day," and "When My Wife Dies." The superst.i.tions of 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 laughed at, or apparently laughed at. Such Rhymes carry on their face a strictly American slave origin. An example is found in "Christmas Turkey." If one asks how I know its origin to be American, the answer is that the native African had no such thing as Christmas and turkeys are indigenous to America. In explanation of the origin of these "stealing" Rhymes I would say that it was never the Negro slave's viewpoint that his hard-earned productions righteously belonged to another. His whole viewpoint in all such cases, where he sang in this kind of verse, is well summed up in the last two lines of this little Rhyme itself:

"I tuck mysef to my tucky roos', An' I brung _my_ tucky home."

To the Negro it was his turkey. This was the Negro slave view and accounts for the origin and evolution of such verse. We leave to others a fair discussion of the ethics and a righteous conclusion; only asking them in fairness to conduct the discussion in the light of slave conditions and slave surroundings.

In a few of the Folk Rhymes one stanza will be found to be longer than any of the others. Now as to the origin of this, in the case of those sung whose tunes I happen to know, the long stanza was used as a kind of chorus, while the other stanzas were used as song "verses." I therefore think this is probably true in all cases. The reader will note that the long stanza is written first in many cases. This is because the Negro habitually begins his song with the Chorus, which is just the opposite to the custom of the Caucasian who begins his ordinary songs with the verse. This appears then to be the possible genesis of stanzas of unequal length.

I have written this little treatise on the use, origin, and evolution of the Negro Rhyme with much hesitation. I finally decided to do it only because I thought a truthful statement of fact concerning Negro Folk Rhymes might prove a help to those who are expert investigators in the field of literature and who are in search of the origin of all Folk literature and finally of all literature. The Negro being the last to come to the bright light of civilization has given or probably will give the last crop of Folk Rhymes. Human processes being largely the same, I hope that my little personal knowledge of the Negro Rhymes may help others 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 may in no way hinder.